identify two examples of rhetorical devices in major's speech

31 Useful Rhetorical Devices

What is a rhetorical device and why are they used.

As with all fields of serious and complicated human endeavor (that can be considered variously as an art, a science, a profession, or a hobby), there is a technical vocabulary associated with writing. Rhetoric is the name for the study of writing or speaking as a means of communication or persuasion, and though a writer doesn’t need to know the specific labels for certain writing techniques in order to use them effectively, it is sometimes helpful to have a handy taxonomy for the ways in which words and ideas are arranged. This can help to discuss and isolate ideas that might otherwise become abstract and confusing. As with the word rhetoric itself, many of these rhetorical devices come from Greek.

Ready, set, rhetoric.

The repetition of usually initial consonant sounds in two or more neighboring words or syllables

wild and woolly, threatening throngs

Syntactical inconsistency or incoherence within a sentence especially : a shift in an unfinished sentence from one syntactic construction to another

you really should have—well, what do you expect?

Repetition of a prominent and usually the last word in one phrase or clause at the beginning of the next

rely on his honor—honor such as his?

A literary technique that involves interruption of the chronological sequence of events by interjection of events or scenes of earlier occurrence : flashback

Repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

we cannot dedicate—we cannot consecrate—we cannot hallow—this ground

The repetition of a word within a phrase or sentence in which the second occurrence utilizes a different and sometimes contrary meaning from the first

we must all hang together or most assuredly we shall all hang separately

The usually ironic or humorous use of words in senses opposite to the generally accepted meanings

this giant of 3 feet 4 inches

The use of a proper name to designate a member of a class (such as a Solomon for a wise ruler) OR the use of an epithet or title in place of a proper name (such as the Bard for Shakespeare)

The raising of an issue by claiming not to mention it

we won't discuss his past crimes

An expression of real or pretended doubt or uncertainty especially for rhetorical effect

to be, or not to be: that is the question

Harshness in the sound of words or phrases

An inverted relationship between the syntactic elements of parallel phrases

working hard, or hardly working?

A disjunctive conclusion inferred from a single premise

gravitation may act without contact; therefore, either some force may act without contact or gravitation is not a force

The substitution of a disagreeable, offensive, or disparaging expression for an agreeable or inoffensive one

greasy spoon is a dysphemism for the word diner

Repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

of the people, by the people, for the people

Emphatic repetition [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

An interchange of two elements in a phrase or sentence from a more logical to a less logical relationship

you are lost to joy for joy is lost to you

A transposition or inversion of idiomatic word order

judge me by my size, do you?

Extravagant exaggeration

mile-high ice-cream cones

The putting or answering of an objection or argument against the speaker's contention [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

Understatement in which an affirmative is expressed by the negative of the contrary

not a bad singer

The presentation of a thing with underemphasis especially in order to achieve a greater effect : UNDERSTATEMENT

A figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them ( Metaphor vs. Simile )

drowning in money

A figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated

crown as used in lands belonging to the crown

The naming of a thing or action by a vocal imitation of the sound associated with it

A combination of contradictory or incongruous words

cruel kindness

The use of more words than those necessary to denote mere sense : REDUNDANCY

I saw it with my own eyes

A figure of speech comparing two unlike things that is often introduced by "like" or "as"

cheeks like roses

The use of a word in the same grammatical relation to two adjacent words in the context with one literal and the other metaphorical in sense

she blew my nose and then she blew my mind

A figure of speech by which a part is put for the whole (such as fifty sail for fifty ships ), the whole for a part (such as society for high society ), the species for the genus (such as cutthroat for assassin ), the genus for the species (such as a creature for a man ), or the name of the material for the thing made (such as boards for stage )

The use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense or makes sense with only one

opened the door and her heart to the homeless boy

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15 Examples of Powerful Rhetorical Devices to Level Up Your Communication Skills

• The Speaker Lab
• July 9, 2024

Table of Contents

When it comes to mastering the art of public speaking , there are plenty of skills you might focus on improving. One such skill is the use of rhetorical devices in your speech. From Abraham Lincoln to modern-day authors, these tools have shaped unforgettable narratives and compelling arguments. In this article, we’ll explore some key examples of rhetorical devices that you can incorporate into your own writing to captivate and persuade. By the end, you’ll see how these techniques quietly work behind the scenes to make words come alive.

What Are Rhetorical Devices?

Before we study some examples of rhetorical devices, let’s first define what they actually are. Rhetorical devices are techniques or language used to convey a point or convince an audience. And they’re not just for English teachers or literature buffs—politicians, businesspeople, and even your favorite novelists all use rhetorical devices to persuade and impact their audiences.

While there’s some overlap with literary devices like metaphors, rhetorical devices are specifically designed to appeal to the reader’s sensibilities. In other words, they make an argument more compelling, memorable, and persuasive by tapping into emotions, logic, credibility, and style.

Common Types of Rhetorical Devices

So what exactly are these mysterious rhetorical devices? There are actually dozens of different techniques, each with its own unique effect. Some of the most common types include:

• Ethos: Appeal to the credibility and character of the speaker
• Pathos: Appeal to the emotions of the audience
• Logos: Appeal to logic and reason
• Repetition: Repeating words or phrases for emphasis
• Analogies: Comparing two things to show similarities
• Rhetorical questions: Asking a question for effect, not an answer

These are just a few examples, but they give you a sense of the variety and power of rhetorical devices. Each one serves a specific purpose in crafting a persuasive message.

Purpose of Using Rhetorical Devices in Writing

Of course, you may be wondering why you should bother with all these rhetorical devices in the first place. Can’t you just say what you mean and call it a day? You certainly could, but if you want your writing to have a real impact, rhetorical devices are key.

The purpose of using rhetorical devices in writing is to:

• Engage the reader’s emotions and imagination
• Make your arguments more memorable and persuasive
• Establish your credibility and authority on the topic
• Add style and flair to your prose

Essentially, rhetorical devices are like secret weapons that help your writing pack a punch. They take your arguments from bland to brilliant by tapping into the power of language.

Of course, like any tool, rhetorical devices must be used skillfully and strategically. You can’t just sprinkle them in willy-nilly and expect your writing to improve. It takes practice and finesse to wield them effectively.

But don’t worry—in the next section, we’ll cover some concrete rhetorical devices examples to help you get started. For now, just remember: rhetorical devices are help give your speech a polished feel. Learn to use them wisely, and your writing will reap the benefits.

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15 Examples of Rhetorical Devices in Literature and Everyday Language

Now that we’ve covered the basics of what rhetorical devices are and why they matter, let’s dive into some specific examples. Once you start looking for them, you can find these devices everywhere, whether it’s in famous speeches, classic literature, pop songs, and even everyday conversations. Let’s dive in.

Rhetorical Questions

A rhetorical question is a question asked for effect, not expecting an answer. These questions are designed to make the reader or listener think, emphasizing a point or provoking an emotional response.

• “If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?” ( The Merchant of Venice by William Shakespeare)
• “Are you kidding me?” (Everyday speech)

Alliteration

Alliteration is the repetition of initial consonant sounds in a series of words. It creates a rhythmic, musical quality that makes phrases more memorable.

• “Peter Piper picked a peck of pickled peppers.” (Tongue twister)
• “‘Cause, baby, now we got bad blood.” (“Bad Blood” by Taylor Swift)

Another example of a rhetorical device is an allusion. This technique makes an indirect reference to a person, place, event, or literary work. It relies on the reader’s existing knowledge to make a connection and thus enrich the meaning of the text.

• “I feel like I’m carrying the weight of the world on my shoulders.” (Reference to Greek myth of Atlas)
• “If you’re Juliet, then I’m your Romeo.” (Allusion to Shakespeare’s play, Romeo and Juliet )

Amplification

Amplification involves repeating a word or expression while adding more detail to clarify meaning. It’s used to emphasize certain points and expand on important ideas.

• “Love, true love, will follow you forever.” ( The Princess Bride )
• “A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.” (The Twits by Roald Dahl)

An analogy is a comparison between two things to show their similarities. It helps explain complex ideas by relating them to more familiar concepts.

• “Life is like a box of chocolates. You never know what you’re gonna get.” ( Forrest Gump )
• “Finding a good man is like finding a needle in a haystack.” (Common expression)

Anaphora is the repetition of a word or phrase at the beginning of successive clauses. Not only does it create a powerful rhythmic effect, but it also emphasizes key themes or ideas.

• “I have a dream that one day…” (Repeated throughout MLK’s famous speech)
• “It rained on his lousy tombstone, and it rained on the grass on his stomach. It rained all over the place.” (Catcher in the Rye by J.D. Salinger)

Antanagoge involves placing a criticism and compliment together to lessen the impact. It’s a way of simultaneously acknowledging a fault and offering a positive perspective.

• “The car is not pretty, but it runs great.” (Everyday speech)
• “April showers bring May flowers.” (Common expression)

Antimetabole

As you’ve seen in some examples already, rhetorical devices often utilize repetition to create a certain effect. Antimetabole is no different. In order to use this technique, a writer must repeat words or phrases in reverse order for emphasis. The inverted parallelism creates a memorable, catchy effect.

• “Ask not what your country can do for you, but what you can do for your country.” (JFK’s inaugural address)
• “When the going gets tough, the tough get going.” (Common expression)

Antiphrasis

Antiphrasis uses a word with an opposite meaning for ironic or humorous effect. It’s a form of sarcasm or understatement that draws attention to the contrast between what is said and reality.

• “Oh, I love being stuck in traffic.” (Sarcastic everyday speech)
• “I was awakened by the dulcet tones of Frank, the morning doorman, alternately yelling my name, ringing my doorbell, and pounding on my apartment door…” ( Filthy Rich by Dorothy Samuels)

Antithesis juxtaposes two contrasting ideas in parallel structure. The stark contrast not only emphasizes the conflict between the ideas but also adds vibrancy to the language.

• “That’s one small step for man, one giant leap for mankind.” (Neil Armstrong)
• “To err is human; to forgive, divine.” (Alexander Pope)

An appositive is a noun or noun phrase that renames another noun right beside it. It adds both extra details and context about the original noun.

• “My brother, a talented musician, taught himself guitar.” (Everyday speech)
• “Mr. Knightley, a sensible man about seven or eight-and-thirty, was not only a very old and intimate friend of the family, but particularly connected with it, as the elder brother of Isabella’s husband.” ( Emma by Jane Austen)

Assonance is the repetition of vowel sounds in nearby words. Much like alliteration, it creates a musical or rhythmic effect that can make language more memorable.

• “The rain in Spain stays mainly in the plain.” (Song lyric from My Fair Lady )
• “Goodnight, sleep tight, don’t let the bedbugs bite.” (Common expression)

Asyndeton refers to a practice in literature whereby the author purposely leaves out conjunctions in the sentence, while maintaining the grammatical accuracy of the phrase. It helps speed up the rhythm of the prose being constructed.

• “I came, I saw, I conquered.” (Julius Caesar)
• “Live, laugh, love.” (Everyday expression)

Cacophony is the use of words with sharp, harsh, hissing, and unmelodious sounds—primarily those of consonants—in order to achieve desired results. For instance, the author might be trying to create a spooky atmosphere or engage the reader’s auditory senses.

• “My stick fingers click with a snicker/And, chuckling, they knuckle the keys.” (“Player Piano” by John Updike)
• “Beware the Jabberwock, my son./The jaws that bite, the claws that catch.” (“Jabberwocky” by Lewis Carroll)

Chiasmus is a “two-part sentence or phrase, where the second part is a reversal of the first.” As you may notice from the examples below, this rhetorical device is strikingly similar to antimetabole. However, whereas antimetabole uses the same or similar wording in reverse, chiasmus merely “mirrors related concepts by repeating elements of a sentence.” As a result, chiasmus allows for a bit more freedom of expression while still creating a parallel sentence structure.

• “I’d rather laugh with the sinners than cry with the saints.” (Billy Joel)
• “Genuine righteousness leads to life, but the pursuit of evil brings death.” (Proverbs 11:19)

As you can see, rhetorical devices can be found anywhere, from political speeches to pop songs to everyday expressions. By understanding how these techniques work, you can harness their power in your own writing and speech.

How to Effectively Use Rhetorical Devices in Your Writing

Mastering the art of using rhetorical devices can take your writing to the next level. In order to truly harness the power of rhetorical devices, however, you need to approach them strategically and with purpose. Let’s break it down.

Identify Your Purpose

Before you start adding rhetorical devices to your writing, take a step back and consider your purpose. What do you want to achieve with your piece? Are you trying to persuade your audience, evoke emotion, or simply inform them? When you understand your goal, you can choose the most appropriate devices to support your message.

Choose Appropriate Devices

Once you’ve identified your purpose, it’s time to select the rhetorical devices that will best serve your writing. This is where really understanding the different types of devices comes in handy. For example, if you want to create a sense of urgency, you might opt for rhetorical devices such as repetition or hyperbole . If you’re aiming to establish credibility, then you might lean towards allusion or ethos .

Use Them Sparingly

While using rhetorical devices is a great way to make your speeches shine, it’s important not to go overboard. In fact, overusing these techniques can actually weaken your writing and make it feel gimmicky or insincere. Instead, use them sparingly and strategically, like a chef adding just the right amount of seasoning to enhance a dish.

Ensure Clarity

While rhetorical devices can add depth and impact to your writing, they should never come at the expense of clarity. Your audience should still be able to easily understand your message, even with the added flourishes. If a device is making your writing confusing or convoluted, then it’s time to rethink its use.

Practice and Revise

Like any skill, effectively using rhetorical devices takes practice. When you write, experiment with different techniques and see how they impact your work. Don’t be afraid to revise and refine your use of devices as you go. Over time, you’ll develop a keen sense of when and how to deploy these powerful tools for maximum impact.

By following these guidelines and continually honing your craft, you’ll be well on your way to mastering the art of using rhetorical devices in your writing. Remember, the goal is not to show off your literary prowess, but rather to enhance your message and engage your audience on a deeper level.

The Impact of Rhetorical Devices on Audience Engagement

If you’re looking for ways to engage your audience, then rhetorical devices are great examples of how to do so effectively. But that’s not all that they can do. Rhetorical devices can also create emphasis, evoke emotions, enhance memorability, and establish credibility. If you’re a writer, then understanding the impact these techniques can have on your audience is crucial.

Creating Emphasis

One of the most powerful ways rhetorical devices engage audiences is by creating emphasis. Rhetorical devices like repetition, amplification, and antithesis, for example, can highlight key ideas or arguments, making them stand out in the reader’s mind. By strategically emphasizing certain points, you can guide your audience’s attention and ensure your most important messages hit home.

Evoking Emotions

Rhetorical devices are also incredibly effective at evoking emotions in your audience. Whether you want to inspire, motivate, or persuade, techniques like metaphor , hyperbole, and rhetorical questions can tap into your reader’s feelings and create a powerful emotional connection. And when your audience feels something, they’re more likely to stay engaged and invested in your message.

Enhancing Memorability

If you want someone to remember your speech, then rhetorical devices are crucial. Techniques such as alliteration, assonance, and chiasmus create a sense of rhythm and balance in your writing. By crafting passages with these rhetorical devices, you can ensure that your ideas don’t just sound good, but also linger long after your audience has finished reading.

Establishing Credibility

Finally, rhetorical devices can play a crucial role in establishing your credibility as a writer. By skillfully employing techniques such as allusion, ethos, and logos, you demonstrate your expertise and authority on a subject. When your audience perceives you as knowledgeable and trustworthy, they’re more likely to engage with your ideas and take your message to heart.

By understanding the impact of rhetorical devices on audience engagement and using them effectively in your writing, you can take your work to new heights. Whether you’re crafting a persuasive essay, a compelling blog post, or a powerful speech, these techniques are your secret weapon for captivating your audience and leaving a lasting impression. So go forth and wield them wisely.

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Examples of Rhetorical Devices in Famous Speeches

Throughout history, great orators and writers have used rhetorical devices in order to captivate their audiences and drive home their points. Below are several famous speeches and essays that showcase the power of these techniques. So if you are looking for examples of how to use rhetorical devices effectively, then you’ve come to the right place.

“The Gettysburg Address” by Abraham Lincoln

Abraham Lincoln’s “Gettysburg Address” is a short speech, but it packs a rhetorical punch. In just a few minutes, Lincoln manages to honor the fallen soldiers, reaffirm the principles of the Declaration of Independence, and call on his audience to dedicate themselves to the unfinished work of the war.

One of the key devices Lincoln uses is antithesis, the juxtaposition of contrasting ideas. “The world will little note, nor long remember what we say here, but it can never forget what they did here,” he says, contrasting the fleeting nature of words with the permanence of actions.

Lincoln also employs epistrophe  (the repetition of a word or phrase at the end of successive clauses) when he says, “of the people, by the people, for the people.” This technique drives home the central theme of the speech: that the war was fought in order to preserve a government based on popular sovereignty.

“I Have a Dream” by Martin Luther King, Jr.

One of the most iconic speeches in American history, Martin Luther King, Jr.’s “I Have a Dream” is a masterclass in the use of rhetorical devices. Throughout the speech, King employs techniques like anaphora, allusion, and metaphor to paint a vivid picture of his vision for a more just and equal society.

The well-known line from King’s speech “I have a dream” illustrates the power of anaphora, as it is repeated throughout his speech in order to emphasize his wish for equality. King also makes use of allusion, referencing the Declaration of Independence, the Gettysburg Address, and the Bible to tie his message to the larger American and Christian traditions. In addition, his metaphors, like “the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity,” make abstract concepts concrete and emotionally resonant.

“We Shall Fight on the Beaches” by Winston Churchill

Delivered at a time when Britain stood alone against the might of Nazi Germany, Winston Churchill’s “We Shall Fight on the Beaches” speech is a stirring call to arms. Churchill uses a variety of rhetorical devices to inspire his audience and project confidence in the face of overwhelming odds.

One of the most prominent devices in the speech is anaphora. Churchill repeats the phrase “we shall fight” multiple times, each time in a different context: “we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air.” This repetition hammers home the message of defiance and determination.

Churchill also makes use of metaphor, comparing the British Empire and its allies to “the old lion” and Nazi Germany to “the new and terrible enemy.” These vivid images help to paint the conflict in stark, almost mythic terms.

“Friends, Romans, Countrymen” by William Shakespeare

Though not a real-life speech, Mark Antony’s funeral oration in Shakespeare’s Julius Caesar is a fictional example of rhetorical mastery. Antony’s speech is a brilliant manipulation of the crowd’s emotions, turning them against Brutus and the other conspirators and inciting them to riot.

One of Antony’s key techniques is irony. Throughout the speech, he repeatedly refers to Brutus as an “honorable man,” while providing evidence that contradicts this characterization. This irony helps to undermine Brutus’s credibility and cast doubt on his motives.

Antony also makes effective use of pathos, the appeal to emotion . He shows the crowd Caesar’s wounded body and reads his will, which leaves money to the citizens of Rome. These actions stir up feelings of grief and gratitude in the crowd, making them more receptive to Antony’s message.

These famous speeches demonstrate the power of rhetorical devices to shape opinion, stir emotion, and even change the course of history. When we study how great orators and writers have used these techniques, we can learn to communicate our own ideas more effectively and persuasively.

FAQs on Rhetorical Devices

What is an example of a rhetorical device.

Anaphora, the repetition of words at the start of successive phrases, helps create emotional impact. Think MLK’s “I Have a Dream” speech.

What are the three most common rhetorical devices?

Alliteration, metaphor, and hyperbole top the list.

What is an example of a rhetorical technique?

Antithesis pairs opposites to highlight contrast. For instance, the statement “to err is human; to forgive, divine” employs antithesis.

The magic of effective communication often lies in mastering various rhetorical devices. Whether you’re crafting an inspiring speech or penning a thought-provoking essay, understanding these tools is crucial.

You’ve now seen how simple yet impactful techniques such as metaphors, analogies, and antitheses enrich our language. These aren’t just academic exercises; they’re practical strategies you can apply today. So as you write your next piece, remember to create emphasis with repetition, evoke emotions with vivid imagery, and add rhythm with alliteration. Happy writing!

• Last Updated: July 3, 2024

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The 20 Most Useful Rhetorical Devices

General Education

Rhetoric is the art of effective communication; if you communicate with others at all, rhetorical devices are your friends!

Rhetorical devices help you make points more effectively, and help people understand you better. In this article, I'll be covering some important rhetorical devices so you can improve your own writing! 

What Are Rhetorical Devices?

A lot of things that you would think of as just regular everyday modes of communicating are actually rhetorical devices That’s because ‘rhetorical devices’ is more or less a fancy way of saying ‘communication tools.’

Most people don’t plan out their use of rhetorical devices in communication, both because nobody thinks, “now would be a good time to use synecdoche in this conversation with my grocery clerk,” and because we use them so frequently that they don’t really register as “rhetorical devices.”

How often have you said something like, “when pigs fly!” Of those times, how often have you thought, “I’m using a rhetorical device!” That’s how ubiquitous they are!

However, being aware of what they are and how to use them can strengthen your communication , whether you do a lot of big speeches, write persuasive papers, or just argue with your friends about a TV show you all like.

Rhetorical devices can function at all levels: words, sentences, paragraphs, and beyond. Some rhetorical devices are just a single word, such as onomatopoeia. Others are phrases, such as metaphor, while still others can be sentence-length (such as a thesis), paragraph-length (hypophora), or go throughout the entire piece, such as a standard five-paragraph essay.

Many of these (such as the thesis or five-paragraph essay) are so standard and familiar to us that we may not think of them as devices. But because they help us shape and deliver our arguments effectively, they're important to know and understand.

The Most Useful Rhetorical Devices List

It would be impossible to list every single rhetorical device in one blog post. Instead, I've collected a mixture of extremely common devices you may have heard before and some more obscure ones that might be valuable to learn.

Amplification

Amplification is a little similar to parallelism: by using repetition, a writer expands on an original statement and increases its intensity .

Take this example from Roald Dahl’s The Twits :

“If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.”

In theory, we could have gotten the point with the first sentence. We don’t need to know that the more you think ugly thoughts, the uglier you become, nor that if you think good thoughts you won’t be ugly—all that can be contained within the first sentence. But Dahl’s expansion makes the point clearer, driving home the idea that ugly thoughts have consequences.

Amplification takes a single idea and blows it up bigger, giving the reader additional context and information to better understand your point. You don’t just have to restate the point— use amplification to expand and dive deeper into your argument to show readers and listeners how important it is!

Anacoluthon

Anacoluthon is a fancy word for a disruption in the expected grammar or syntax of a sentence. That doesn’t mean that you misspoke—using anacoluthon means that you’ve deliberately subverted your reader’s expectations to make a point.

For example, take this passage from King Lear :

“I will have such revenges on you both, That all the world shall—I will do such things, What they are, yet I know not…”

In this passage, King Lear interrupts himself in his description of his revenge. This has multiple effects on the reader: they wonder what all the world shall do once he has his revenge (cry? scream? fear him?), and they understand that King Lear has interrupted himself to regain his composure. This tells us something about him—that he’s seized by passion in this moment, but also that he regains control. We might have gathered one of those things without anacoluthon, but the use of this rhetorical device shows us both very efficiently.

Anadiplosis

Anadiplosis refers to purposeful repetition at the end of one sentence or clause and at the beginning of the next sentence or clause. In practice, that looks something like a familiar phrase from Yoda:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Note the way that the ending word of each sentence is repeated in the following sentence. That’s anadiplosis!

This rhetorical device draws a clear line of thinking for your reader or listener—repetition makes them pay closer attention and follow the way the idea evolves. In this case, we trace the way that fear leads to suffering through Yoda’s purposeful repetition.

Antanagoge is the balancing of a negative with a positive. For example, the common phrase, “When life gives you lemons, make lemonade,” is antanagoge—it suggests a negative (lots of lemons) and follows that up with a positive (make lemonade).

When writing persuasively, this can be a great way to respond to potential detractors of your argument. Suppose you want to convince your neighborhood to add a community garden, but you think that people might focus on the amount of work required. When framing your argument, you could say something like, “Yes, it will be a lot of work to maintain, but working together will encourage us all to get to know one another as well as providing us with fresh fruits, vegetables, and flowers.”

This is a little like procatalepsis, in that you anticipate a problem and respond to it. However, antanagoge is specifically balancing a negative with a positive, just as I did in the example of a garden needing a lot of work, but that work is what ultimately makes the project worth it.

Apophasis is a form of irony relating to denying something while still saying it. You’ll often see this paired with phrases like, “I’m not saying…” or “It goes without saying…”, both of which are followed up with saying exactly what the speaker said they weren’t going to say.

Take this speech from Iron Man 2 :

"I'm not saying I'm responsible for this country's longest run of uninterrupted peace in 35 years! I'm not saying that from the ashes of captivity, never has a phoenix metaphor been more personified! I'm not saying Uncle Sam can kick back on a lawn chair, sipping on an iced tea, because I haven't come across anyone man enough to go toe to toe with me on my best day! It's not about me."

Tony Stark isn’t saying that he’s responsible for all those things… except that’s exactly what he is saying in all of his examples. Though he says it’s not about him, it clearly is—all of his examples relate to how great he is, even as he proclaims that they aren’t.

A scene like this can easily be played for humor, but apophasis can also be a useful (albeit deceptive) rhetorical tool. For example, this argument:

Our neighborhood needs a community garden to foster our relationships with one another. Not only is it great for getting to know each other, but a community garden will also provide us with all kinds of fresh fruit and vegetables. It would be wrong to say that people who disagree aren’t invested in others’ health and wellness, but those who have the neighborhood’s best interests in mind will support a community garden.

That last sentence is all apophasis. Not only did I imply that people who don’t support the community garden are anti-social and uncaring (by outright stating that I wouldn’t say that, but I also implied that they’re also not invested in the neighborhood at all. Stating things like this, by pretending you’re not saying them or saying the opposite, can be very effective.

Assonance and Alliteration

Assonance adds an abundance of attractive accents to all your assertions. That’s assonance—the practice repeating the same vowel sound in multiple words in a phrase or sentence, often at the beginning of a word, to add emphasis or musicality to your work. Alliteration is similar, but uses consonant sounds instead of vowel sounds.

Let’s use Romeo and Juliet as an example again:

“From forth the fatal loins of these two foes; A pair of star-cross’d lovers take their life.”

Here, we have repetition of the sounds ‘f’ and ‘l’ in ‘from forth...fatal...foes,’ and ‘loins...lovers...life.’

Even if you don’t notice the repetition as you’re reading, you can hear the effects in how musical the language sounds. Shakespeare could easily have just written something like, “Two kids from families who hate one another fell in love and died by suicide,” but that’s hardly as evocative as the phrasing he chose.

Both assonance and alliteration give your writing a lyrical sound, but they can do more than that, too. These tools can mimic associated sounds, like using many ‘p’ sounds to sound like rain or something sizzling, or ‘s’ sounds to mimic the sounds of a snake. When you’re writing, think about what alternative meanings you can add by emphasizing certain sounds.

Listen, asterismos is great. Don’t believe me? How did you feel after I began the first sentence with the word ‘listen?’ Even if you didn’t feel more inspired to actually listen, you probably paid a bit more attention because I broke the expected form. That’s what asterismos is—using a word or phrase to draw attention to the thought that comes afterward.

‘Listen’ isn’t the only example of asterismos, either. You can use words like, ‘hey,’ ‘look,’ ‘behold,’ ‘so,’ and so on. They all have the same effect: they tell the reader or listener, “Hey, pay attention—what I’m about to say is important.”

Dysphemism and Euphemism

Euphemism is the substitution of a more pleasant phrase in place of a familiar phrase, and dysphemism is the opposite —an un pleasant phrase substituted in place of something more familiar. These tools are two sides of the same coin. Euphemism takes an unpleasant thing and makes it sound nicer—such as using 'passed away' instead of 'died'—while dysphemism does the opposite, taking something that isn't necessarily bad and making it sound like it is.

We won’t get into the less savory uses of dysphemism, but there are plenty that can leave an impression without being outright offensive. Take ‘snail mail.’ A lot of us call postal mail that without any real malice behind it, but ‘snail’ implies slowness, drawing a comparison between postal mail and faster email. If you’re making a point about how going electronic is faster, better for the environment, and overall more efficient, comparing email to postal mail with the phrase ‘snail mail’ gets the point across quickly and efficiently.

Likewise, if you're writing an obituary, you probably don't want to isolate the audience by being too stark in your details. Using gentler language, like 'passed away' or 'dearly departed' allows you to talk about things that might be painful without being too direct. People will know what you mean, but you won't have to risk hurting anyone by being too direct and final with your language.

You’ve no doubt run into epilogues before, because they’re a common and particularly useful rhetorical device! Epilogues are a conclusion to a story or work that reveals what happens to the characters in the story. This is different from an afterword, which is more likely to describe the process of a book’s creation than to continue and provide closure to a story.

Many books use epilogues to wrap up loose ends, usually taking place in the future to show how characters have changed as a result of their adventures. Both Harry Potter and The Hunger Games series use their epilogues to show the characters as adults and provide some closure to their stories—in Harry Potter , the main characters have gotten married and had children, and are now sending those children to the school where they all met. This tells the reader that the story of the characters we know is over—they’re adults and are settled into their lives—but also demonstrates that the world goes on existing, though it’s been changed forever by the actions of the familiar characters.

Eutrepismus

Eutrepismus is another rhetorical device you’ve probably used before without realizing it. This device separates speech into numbered parts, giving your reader or listener a clear line of thinking to follow.

Eutrepismus is a great rhetorical device—let me tell you why. First, it’s efficient and clear. Second, it gives your writing a great sense of rhythm. Third, it’s easy to follow and each section can be expanded throughout your work.

See how simple it is? You got all my points in an easy, digestible format. Eutrepismus helps you structure your arguments and make them more effective, just as any good rhetorical device should do.

You’ve probably used hypophora before without ever thinking about it. Hypophora refers to a writer or speaker proposing a question and following it up with a clear answer. This is different from a rhetorical question—another rhetorical device—because there is an expected answer, one that the writer or speaker will immediately give to you.

Hypophora serves to ask a question the audience may have (even if they’re not entirely aware of it yet) and provide them with an answer. This answer can be obvious, but it can also be a means of leading the audience toward a particular point.

Take this sample from John F. Kennedy’s speech on going to the moon:

But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas? We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.

In this speech, Kennedy outright states that he’s asking questions others have asked, and then goes on to answer them. This is Kennedy’s speech, so naturally it’s going to reflect his point of view, but he’s answering the questions and concerns others might have about going to the moon. In doing so, he’s reclaiming an ongoing conversation to make his own point. This is how hypophora can be incredibly effective: you control the answer, leaving less room for argument!

Litotes is a deliberate understatement, often using double negatives, that serves to actually draw attention to the thing being remarked upon. For example, saying something like, “It’s not pretty,” is a less harsh way to say “It’s ugly,” or “It’s bad,” that nonetheless draws attention to it being ugly or bad.

In Frederick Douglass’ Narrative of the Life of Frederick Douglass: an American Slave , he writes:

“Indeed, it is not uncommon for slaves even to fall out and quarrel among themselves about the relative goodness of their masters, each contending for the superior goodness of his own over that of the others.”

Notice the use of “not uncommon.” Douglass, by using a double negative to make readers pay closer attention, points out that some slaves still sought superiority over others by speaking out in favor of their owners.

Litotes draws attention to something by understating it. It’s sort of like telling somebody not to think about elephants—soon, elephants becomes all they can think about. The double negative draws our attention and makes us focus on the topic because it’s an unusual method of phrasing.

Onomatopoeia

Onomatopoeia refers to a sound represented within text as a mimicry of what that sound actually sounds like. Think “bang” or “whizz” or “oomph,” all of which can mean that something made that kind of a sound—”the door banged shut”—but also mimic the sound itself—”the door went bang .”

This rhetorical device can add emphasis or a little bit of spice to your writing. Compare, “The gunshot made a loud sound,” to “The gun went bang .” Which is more evocative?

Parallelism

Parallelism is the practice of using similar grammar structure, sounds, meter, and so on to emphasize a point and add rhythm or balance to a sentence or paragraph.

One of the most famous examples of parallelism in literature is the opening of Charles Dickens’ A Tale of Two Cities :

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."

In the beginning, every phrase begins with “It was,” which is itself a parallelism. But there are also pairs of parallelism within the sentence, too; “It was the ___ of times, it was the ___ of times,” and “it was the age of ___, it was the age of ___.”

Parallelism draws your reader deeper into what you’re saying and provides a nice sense of flow, even if you’re talking about complicated ideas. The ‘epoch of incredulity’ is a pretty meaty phrase, but Dickens’ parallelism sets up a series of dichotomies for us; even if we don’t know quite what it means, we can figure it out by comparing it to ‘belief.’

Personification

Personification is a rhetorical device you probably run into a lot without realizing it. It’s a form of metaphor, which means two things are being compared without the words like or as—in this case, a thing that is not human is given human characteristics.

Personification is common in poetry and literature, as it’s a great way to generate fresh and exciting language, even when talking about familiar subjects. Take this passage from Romeo and Juliet , for example:

“When well-appareled April on the heel Of limping winter treads.”

April can’t wear clothes or step on winter, and winter can’t limp. However, the language Shakespeare uses here is quite evocative. He’s able to quickly state that April is beautiful (“well-appareled”) and that winter is coming to an end (“limping winter”). Through personification, we get a strong image for things that could otherwise be extremely boring, such as if Shakespeare had written, “When beautiful April comes right after winter.”

Procatalepsis

Procatalepsis is a rhetorical device that anticipates and notes a potential objection, heading it off with a follow-up argument to strengthen the point. I know what you’re thinking—that sounds really complicated! But bear with me, because it’s actually quite simple.

See how that works? I imagined that a reader might be confused by the terminology in the first sentence, so I noted that potential confusion, anticipating their argument. Then, I addressed that argument to strengthen my point—procatalepsis is easy, which you can see because I just demonstrated it!

Anticipating a rebuttal is a great way to strengthen your own argument. Not only does it show that you’ve really put thought into what you’re saying, but it also leaves less room for disagreement!

Synecdoche is a rhetorical device that uses a part of something to stand in for the whole. That can mean that we use a small piece of something to represent a whole thing (saying ‘let’s grab a slice’ when we in fact mean getting a whole pizza), or using something large to refer to something small. We often do this with sports teams–for example, saying that New England won the Super Bowl when we in fact mean the New England Patriots, not the entirety of New England.

This style of rhetorical device adds an additional dimension to your language, making it more memorable to your reader. Which sounds more interesting? “Let’s get pizza,” or “let’s grab a slice?”

Likewise, consider this quote from Percy Bysshe Shelly’s “Ozymandias”:

“Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them.”

Here, Shelly uses ‘the hand’ to refer to the sculptor. The hand did not sculpt the lifeless things on its own; it was a tool of the sculptor. But by using just the hand, Shelly avoids repeating ‘the sculptor,’ preserves the poem’s rhythm, and narrows our focus. If he had referred to the sculptor again, he’d still be a big important figure; by narrowing to the hand, Shelly is diminishing the idea of the creator, mirroring the poem’s assertion that the creation will outlast it.

Tautology refers to using words or similar phrases to effectively repeat the same idea with different wording. It’s a form of repetition that can make a point stronger, but it can also be the basis of a flawed argument—be careful that your uses of tautology is the former, not the latter!

For example, take this section of “The Bells” by Edgar Allen Poe:

“Keeping time, time, time, In a sort of Runic rhyme… From the bells, bells, bells, bells.”

Poe’s poetry has a great deal of rhythm already, but the use of ‘time, time, time’ sets us up for the way that ‘bells, bells, bells, bells’ also holds that same rhythm. Keeping time refers to maintaining rhythm, and this poem emphasizes that with repetition, much like the repetitive sound of ringing bells.

An example of an unsuccessful tautology would be something like, “Either we should buy a house, or we shouldn’t.” It’s not a successful argument because it doesn’t say anything at all—there’s no attempt to suggest anything, just an acknowledgment that two things, which cannot both happen, could happen.

If you want to use tautology in your writing, be sure that it’s strengthening your point. Why are you using it? What purpose does it serve? Don’t let a desire for rhythm end up robbing you of your point!

That thing your English teachers are always telling you to have in your essays is an important literary device. A thesis, from the Greek word for ‘a proposition,’ is a clear statement of the theory or argument you’re making in an essay. All your evidence should feed back into your thesis; think of your thesis as a signpost for your reader. With that signpost, they can’t miss your point!

Especially in longer academic writing, there can be so many pieces to an argument that it can be hard for readers to keep track of your overarching point. A thesis hammers the point home so that no matter how long or complicated your argument is, the reader will always know what you’re saying.

Tmesis is a rhetorical device that breaks up a word, phrase, or sentence with a second word, usually for emphasis and rhythm . We often do this with expletives, but tmesis doesn’t have to be vulgar to be effective!

Take this example from Romeo and Juliet :

“This is not Romeo, he’s some other where.”

The normal way we’d hear this phrase is “This is not Romeo, he’s somewhere else.” But by inserting the word ‘other’ between ‘some’ and ‘where,’ it not only forces us to pay attention, but also changes the sentence’s rhythm. It gets the meaning across perfectly, and does so in a way that’s far more memorable than if Shakespeare had just said that Romeo was somewhere else.

For a more common usage, we can turn to George Bernard Shaw’s Pygmalion , which often has Eliza Doolittle using phrases like “fan-bloody-tastic” and “abso-blooming-lutely.” The expletives—though mild by modern standards—emphasize Eliza’s social standing and make each word stand out more than if she had simply said them normally.

What’s Next?

Rhetorical devices and literary devices can both be used to enhance your writing and communication. Check out this list of literary devices to learn more !

Ethos, pathos, logos, and kairos are all modes of persuasion—types of rhetorical devices— that can help you be a more convincing writer !

No matter what type of writing you're doing, rhetorical devices can enhance it! To learn more about different writing styles, check out this list !

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The 20 most common rhetorical devices (with examples).

The phrase rhetorical devices might ring a bell to some. Maybe you vaguely remember hearing about them in an English class that you took years ago. But you probably haven’t thought about them since. That’s totally understandable, but whether we know it or not, rhetorical devices play a surprisingly large role in our daily speech. Sometimes we use them without even realizing it. Whether they’re used to illustrate sound, order or meaning (we’ll explain all these in a bit), rhetorical devices are widely used across the board, especially in advertising and marketing. Without further ado, we’d like to share our list of the 20 most common rhetorical devices that you can use to impress your friends and family or win a free round of drinks at the next trivia night at your local bar.

What Are Rhetorical Devices?

Before we dive into the different types of rhetorical devices, we should probably review what exactly they are. “Rhetorical devices” refer to figures of speech that are used to achieve a certain effect. Essentially, they’re a way to deviate from everyday language by taking advantage of the power of words.

Words have connotative value: on one hand, they have their denotation, which is their true and correct meaning. On the other hand, words have a set of meanings that are generally attributed to them. For example, the word “heart” literally refers to the organ at the center of your circulatory system. But it can also have a wide variety of connotations or alternative meanings: a person “with a good heart” is someone who’s kind and helpful to others. The “heart” of a system is its center, and someone who is “lionhearted” is extremely brave. Rhetorical devices don’t use just one meaning or connotation; they also take advantage of different word orders and structures.

Rhetorical devices are most commonly used in literature, but they can also appear in the most unexpected places. They’re an intrinsic part of language, and they’ve probably been around since the beginning of language itself. Even in Ancient Rome, rhetoric students studied the art of classifying words. Early examples of rhetorical devices can even be found in the Bible.

Rhetorical devices can be roughly classified into three different groups:

• Sound-related rhetorical devices: these figures of speech take advantage of a word or phrase’s rhythmic or phonetic sound. The most famous examples are alliteration, assonance and puns.
• Order-related rhetorical devices: these devices modify the normal order of words within a phrase or sentence. The most well-known examples are anaphoras, anastrophes, asyndeton, chiasmus, omissions, hyperbaton and polysyndeton.
• Meaning-related rhetorical devices: these types of devices use the word’s semantic aspect, or their meaning. Some examples are hyperbole, litotes, metaphors, metonymy, oxymorons, similes, synecdoche and synesthesia.

What Is Figurative Language?

To understand the many rhetorical devices that exist in the English language, it’s important that we first discuss figurative language. Figurative language is the form of communication that rhetorical devices fall under. More specifically, it is when words and phrases stray from their strict, dictionary definition to create new meanings. Most commonly, figurative language is used in poetry and other creative prose. However, it also is used in everyday language in the form of expressions or to refer to something without directly saying it.

Take the expression “the news hit me like a ton of bricks”. Figuratively speaking, it’s used to quantify the impact of a piece of news on someone. However, when taken literally, this expression doesn’t make much sense. To note the obvious, the news itself doesn’t carry physical weight and it’s also not actually hitting anyone, as it’s a concept. Additionally, there is of course no ton of bricks hitting the person in question,which is where the importance of the preposition “like” comes in. The use of “like” in this sentence ultimately changes the meaning and makes this sentence identifiable as a “simile”. A simile is one of the many forms that figurative language takes. These forms are better known as rhetorical devices, so let’s get into it.

Sound-Related Rhetorical Devices

Alliteration.

Alliteration refers to repeating a sound or a series of similar consonant sounds at the beginning of two or more words.

Examples of alliteration:

• How much wood could a woodchuck chuck if a woodchuck could chuck wood?
• Trick or treat!
• “From forth the fatal loins of these two foes . . .” — William Shakespeare

Assonance resembles rhyming. It positions two similar sounding words together that have the same vowels (but not the same consonants).

Examples of assonance:

• “And so all the night-tide, I lie down by the side of my darling-my darling-my life and my bride” — Edgar Allen Poe
• “The rain in Spain stays mainly on the plain.” — My Fair Lady

Onomatopoeia

Onomatopoeia is one of the most famous rhetorical devices. It refers to reproducing the sound of an object (like a machine) or an animal.

Examples of onomatopoeia:

• Chitty Chitty Bang Bang (a book written by Ian Fleming, the title of which refers to the sound a car makes)
• “Meow meow.” — a cat

Puns are a common play on words that use words with similar sounds but radically different meanings.

Examples of puns:

• “Denial ain’t just a river in Egypt.” — Mark Twain
• “We had breakfast in the town of Soda, pop. 1001.” — Vladimir Nabokov

Order-Related Rhetorical Devices

An anaphora is the repetition of one or more words within one or more consecutive verses or sentences.

Examples of anaphora:

• “It was the best of times, it was the worst of times…” — Mark Twain
• “So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania…” — Martin Luther King
• “Ask not what your country can do for you — ask what you can do for your country.” — John F. Kennedy

Derived from Greek, the term anastrophe means “inversion” and is achieved by inverting the usual order of two words.

Examples of anastrophe:

• “The greatest teacher, failure is.” — Yoda
• “Certain seeds it will not nurture, certain fruit it will not bear…” — Toni Morrison
• “To thine own self be true.” — William Shakespeare

Many rhetorical devices have fancy names that can be difficult to remember. There’s a reason why technical jargon is usually used only by literature students and aficionados. Some terms are used so often that they’ve become commonplace in everyday speech, however. Antithesis is one of these words. Simply put, antithesis refers to juxtaposing two words with opposite meanings. In layman’s terms, it refers to some sort of contrast (like contrasting ideas.)

Examples of antithesis:

• “Any customer can have a car painted any color that he wants, as long as it is black.” — Henry Ford
• “To err is human; to forgive divine.” -Alexander Pope

Asyndeton is a list of words that are connected by using punctuation instead of conjunctions like “and” or “or.”

Examples of asyndeton:

• “That government of the people, by the people, for the people, shall not perish from the earth.” — Abraham Lincoln
• “I came, I saw, I conquered.” — Julius Caesar

Chiasmus is the crossed arrangement of two words or groups of words according to the AB-BA format.

Examples of chiasmus:

• “The art of progress is to preserve order amid change and to preserve change amid order.” — Alfred North Whitehead
• “And these tend inward to me, and I tend outward to them.” — Walt Whitman
• When the going gets tough, the tough get going.

Omission is the elimination of one or more words that remain understood despite being removed.

Examples of omission:

• “Hope is a thing with feathers/That perches in the soul.” — Emily Dickinson
• “And he to England shall along with you.” — William Shakespeare

Not to be confused with anastrophe, hyperbaton consists of distancing a word from the word that it should be placed closer to.

Examples of hyperbaton:

• “Object there was none. Passion there was none. I loved the old man.” -Edgar Allen Poe
• “One swallow does not a summer make, nor one fine day.” — Aristotle

Polysyndenton

Polysyndeton is the exact opposite of asyndeton. It’s a series of words linked by conjunction words.

Examples of polysyndeton:

• “Lions and tigers and bears, oh my!” — The Wizard of Oz
•  “I said, ‘Who killed him?’ and he said, ‘I don’t know who killed him but he’s dead all right,’ and it was dark and there was water standing in the street and no lights and windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was all right only she was full of water.” — Ernest Hemingway

Meaning-Related Rhetorical Devices

Hyperbole is achieved by exaggerating a reality through expressions that amplify it to an extreme.

Examples of hyperbole:

• “A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County.” — To Kill a Mockingbird
• “It’s a slow burg. I spent a couple of weeks there one day.” — Carl Sandburg
• “At that time Bogota was a remote, lugubrious city where an insomniac rain had been falling since the beginning of the 16th century.” — Gabriel García Márquez

Litotes is the affirmation of something by negating the opposite. It’s used, for example, to mitigate the harshness of an expression or a situation.

Examples of litotes:

• It’s not rocket science.
• He isn’t the brightest bulb in the bunch.

Metaphors are one of the most famous rhetorical devices. Metaphors use words or phrases to indicate something that isn’t often denoted by that word or phrase. Metaphors can sometimes be confused with similes, metonymy or synecdoche, but each of these devices have their own unique characteristics.

Examples of metaphors:

• Daniel is a sheep. (Meaning, Daniel follows other people easily.)
• “All the world’s a stage, and all the men and women merely players.” — William Shakespeare

Metonymy is the exchange of two words that have close reasoning or are closely related in terms of their subject.

Examples of metonymy:

• “I’m reading Sartre.” (I’m not reading the word Sartre; I’m reading a piece written by philosopher Jean-Paul Sartre)
• “England beat Italy 2-0.” (the soccer team representing England beat the team representing Italy)
• “Let’s go get a pint.” (a pint in this case refers to some sort of alcoholic drink)

An oxymoron juxtaposes two words with opposite meanings.

Examples of oxymorons:

• Parting is such sweet sorrow.”
• Big Little Lies (the title of a book by Liane Moriarty)
• “I am a deeply superficial person.” — Andy Warhol

Similes are very similar to metaphors. In this case, the comparison is made through adverbs or adverbial phrases, most notably “like” or “as.”

Examples of similes:

• You’re working like a dog.
• He’s dead as a doornail.
• The news hit me like a ton of bricks.

Synecdoche is always mentioned in conjunction with metonymy. These two rhetorical devices are very similar. However, while metonymy substitutes one word or phrase with another that has a close logical or material proximity, synecdoche substitutes a word or phrase with another term representing a part of it (or vice versa: it uses a broader term to refer to something that it’s a part of). Metonymy expresses a qualitative relationship between the two terms, while synecdoche represents a quantitative relationship.

Examples of synecdoche:

• The feline attacked the antelope. (in this case, the broader term feline, the family that the animal belongs to, is used to denote a tiger)
• “Friends, Romans, countrymen, lend me your ears” — William Shakespeare
• Brain drain (when people educated in their native country seek opportunities in other countries. In this case, it’s not the brains physically leaving the country but the academic talent)

Synesthesia

Synesthesia is a type of metaphor that’s created by connecting two unrelated senses.

Examples of synesthesia:

• “The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was.” — William Shakespeare
• “Thy voice was a censer that scattered strange perfumes, and when I looked on thee I heard a strange music.” — Oscar Wilde
• “Back to the region where the sun is silent.” — Dante

A version of this article originally appeared on the Italian edition of Babbel Magazine.

Rhetorical devices are techniques in writing and speech that try to persuade the audience. A rhetorical device uses language to shape ideas into arguments, convincing the reader through a plethora of literary strategies.

Why study rhetorical devices? Understanding how writers wield words to persuade you will help you read critically and carefully. And, if you’re a writer, a poet, a future lawyer, or even someone who writes a lot of emails, learning how to employ common rhetorical devices will help sharpen your writing style and skills. Familiarizing yourself with this article will help you learn how to identify rhetorical devices in literature.

But first, what are rhetorical devices? This article dives deep into the topic, with a full rhetorical devices list and ample examples from poetry, literature, and speech. This article is filled with inspiration, ideas, and strategies to fine tune your writing, so let’s dive in. What are rhetorical devices?

Common Rhetorical Devices List Contents:

• What are Rhetorical Devices?

Types of Rhetorical Devices

9 syntactic rhetorical devices list, 10 argumentative rhetorical devices list, 10 emphatic rhetorical devices list, 7 stylistic rhetorical devices list, what are rhetorical devices.

Rhetorical devices are literary strategies for persuading the audience. Through techniques involving syntax, style, emphasis, word choice , and appeals to the audience itself, the authors that employ rhetorical devices hope to convince you of a certain idea or argument.

What are rhetorical devices? They are literary strategies for persuading the audience.

It’s important to note that “rhetorical devices” is an open-ended term, because writers are always trying to convince you of something. The devices in this article pertain to strategies in the style and syntax of language itself. But, other literary devices , such as metaphors and onomatopoeias , can also be considered rhetorical, if employed rhetorically—that is, if they try to change your way of thinking. Even the elements of fiction , like setting and plot , want to persuade you to think in a certain way.

Nonetheless, this article focuses on common rhetorical devices employed in the art of argument. Before we look at these literary strategies, let’s examine the different types of rhetorical devices.

There aren’t any clear taxonomies for rhetorical devices, in part because the term itself is so open-ended. Rhetorical scholars certainly don’t try to taxonomize these devices, as language itself is so open-ended and can be employed in infinite ways. Nonetheless, to keep these devices organized, we use the following labels to categorize the different types of rhetorical devices:

• Rhetorical appeals —Devices that appeal directly to the reader’s feelings, thoughts, morals, and sense of time. You may have already heard of them: ethos, logos, pathos, and kairos.
• Syntactical devices —Devices that use sentence structures to communicate or simplify complex ideas.
• Argumentative rhetorical devices —Devices whose structures are conducive to the advancement of a certain argument.
• Emphatic rhetorical devices —Devices that underscore or emphasize certain ideas.
• Stylistic rhetorical devices —Devices that use word play and diction to advance an argument.

Let’s examine these 5 categories now, with a look at rhetorical devices examples in literature, poetry, and speech.

Rhetorical Appeals: Kairos, Ethos, Logos, Pathos Rhetorical Devices

The following common rhetorical devices appeal directly to the reader’s sensibilities. Do note: an appeal to ethos, for example, can also be an appeal to pathos. Many master rhetoricians will advance arguments that appeal to multiple sensibilities at the same time.

1. Kairos—Appeal to Time

Now is the time to use kairos!—a device that appeals directly to the audience’s sense of time.

Specifically, kairos is an appeal to immediacy, to a sense of “in this moment.” When employed ethically, kairos convinces the audience that we must act immediately for the better good. For example, Martin Luther King once said:

King’s call for radical optimism in the face of racism and oppression was a call to action: now is the time that we change our situation of segregation.

Of course, kairos can also be used unethically, in that it can encourage the audience to think about something uncritically. If I implored an audience that “now is the time to chop all the trees down,” and some audience members didn’t think about the effects of this statement, they might actually start deforesting the land around them.

Kairos creates a sense of urgency. Now is the time to act, to think, to hope, etc. The kairos rhetorical device also helps the speaker explain why they are speaking to the audience: Because it is the time for action , I am speaking to you now.

2. Ethos—Appeal to Ethics and Credibility

Ethos is a device which appeals to two different senses:

• The credibility of the speaker. Why should I trust this person’s arguments?
• The ethics of the argument. How can I trust the ethical good in this argument?

To see the ethos rhetorical device in action, let’s look at an excerpt of the novel Animal Farm by George Orwell , a novel filled with rhetorical devices examples. For reference, this novel is an allegorical representation of the rise of the U.S.S.R., and the below excerpt implores the animals on the farm to overthrow the farmers and establish an equitable, self-governing system. Appeals to ethos are bolded.

“Comrades, you have heard already about the strange dream that I had last night. But I will come to the dream later. I have something else to say first. I do not think, comrades, that I shall be with you for many months longer, and before I die, I feel it my duty to pass on to you such wisdom as I have acquired. I have had a long life, I have had much time for thought as I lay alone in my stall, and I think I may say that I understand the nature of life on this earth as well as any animal now living . It is about this that I wish to speak to you.

“Now, comrades, what is the nature of this life of ours? Let us face it: our lives are miserable, laborious, and short. We are born, we are given just so much food as will keep the breath in our bodies, and those of us who are capable of it are forced to work to the last atom of our strength; and the very instant that our usefulness has come to an end we are slaughtered with hideous cruelty. No animal in England knows the meaning of happiness or leisure after he is a year old. No animal in England is free. The life of an animal is misery and slavery: that is the plain truth.

“But is this simply part of the order of nature? Is it because this land of ours is so poor that it cannot afford a decent life to those who dwell upon it? No, comrades, a thousand times no! The soil of England is fertile, its climate is good, it is capable of affording food in abundance to an enormously greater number of animals than now inhabit it. This single farm of ours would support a dozen horses, twenty cows, hundreds of sheep—and all of them living in a comfort and a dignity that are now almost beyond our imagining. Why then do we continue in this miserable condition? Because nearly the whole of the produce of our labour is stolen from us by human beings. There, comrades, is the answer to all our problems. It is summed up in a single word—Man. Man is the only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished for ever.”

The first paragraph demonstrates an appeal to character. The speaker, Old Major, tells the audience he is trustworthy because he has lived a long life, and he wishes to pass on his wisdom. (There is also an appeal to kairos here, because Old Major tells the animals he has not long to live, and needs to tell them this information now .)

The second and third paragraphs appeal to the ethics of the audience. Paragraph two demonstrates the awful conditions of the farm. The animals are, quite literally, worked to death, and they receive no share in the profits of the farm. But the animals do not deserve this: they can imagine a farm that supports a large population, each animal living “in a comfort and a dignity that are now almost beyond our imagining.” Why not strive for this level of prosperity?

Words like “comfort” and “dignity” reinforce the ethics of Old Major’s argument. These ideas are benchmarks for the pig’s ideas, since the audience will now be considering how to construct a world that preserves each individual’s comfort and dignity. It also lends credibility to Old Major himself, who seeks, above all, to better the lives of the animals long after he has died himself.

3. Logos—Appeal to Logic

Logos employs reason or logic to convince the audience of a certain argument. Logos will often be the backbone of an argument, particularly among rhetoricians who have actually thought through the logic of the ideas they’re advancing. (If an argument relies too heavily on pathos or kairos, that argument will often be poorly thought through, or else be trying to achieve nefarious ends.)

There are two primary forms of logos: inductive reasoning and deductive reasoning.

• Inductive Reasoning: Drawing predictions from specific claims. For example, a specific claim might be “I have to wear a scarf every winter.” To make this a predictions, you might say “This winter, I will also wear a scarf.”
• Deductive Reasoning: Drawing specific conclusions from general claims. For example, a general claim might be “All birds have feathers.” To take this to a specific conclusion, you might note that “an emu has feathers. Therefore, an emu is a bird.” (This is also an example of syllogism, which we define later in the article.)

Another way to think about this: inductive reasoning makes predictions based on existing data, whereas deductive reasoning makes conclusions based on existing data. Both forms of argument are valid in different ways, and both are equally prone to being false or manipulated.

The use of facts and figures is also the use of logos, although logos itself is logical argument. In other words, simply writing “studies show” is not an appeal to logos, as the writer must explain how their argument is supported by the data.

Here’s an example of the logos rhetorical device, from the novel To Kill a Mockingbird by Harper Lee . For reference, Atticus is a lawyer trying to prove the innocence of Tom Robinson, a black man falsely accused of assaulting Mayella Ewell.

[Atticus] You’re a strong girl, what were you doing all the time, just standing there?”

[Mayella] “I told’ja I hollered’n‘kicked’n’fought—”

Atticus reached up and took off his glasses, turned his good right eye to the witness, and rained questions on her. Judge Taylor said, “One question at a time, Atticus. Give the witness a chance to answer.”

“All right, why didn’t you run?”

“Tried to? What kept you from it?”

“I—he slung me down. That’s what he did, he slung me down’n got on top of me.”

“You were screaming all this time?”

“I certainly was.”

“Then why didn’t the other children hear you? Where were they? At the dump? Where were they?”

“Why didn’t your screams make them come running? The dump’s closer than the woods, isn’t it?”

“Or didn’t you scream until you saw your father in the window? You didn’t think to scream until then, did you?”

“Did you scream first at your father instead of at Tom Robinson? Was that it?”

“Who beat you up? Tom Robinson or your father?”

“What did your father see in the window, the crime of rape or the best defense to it? Why don’t you tell the truth, child, didn’t Bob Ewell beat you up?”

Atticus uses deductive reasoning here to demonstrate that Mayella’s bruises came from her father, not from Tom Robinson. Logically speaking, if Tom was the one assaulting her, she would have screamed, and wouldn’t someone have heard? Tried to get Tom off of her?

By canceling out all other possible scenarios, Atticus deduces that, because no one came to Mayella’s rescue, her story about being assaulted by Tom is fake, because the source of her bruises is actually her father.

Note: When appeals to logic are false or poorly argued, they are often logical fallacies .

4. Pathos—Appeal to Feeling

Pathos is an appeal to the feelings of the audience. The author employs pathos when the writing tries to evoke a particular emotion, especially for the purposes of advancing an argument.

Pathos is a common facet of all literature, since literature tries to connect the reader to our greater shared humanity. This can only happen on the levels of the symbolic : images, feelings, and the like.

In argument, politics, and the court of law, the pathos rhetorical device certainly helps win the audience over to a certain idea or position. That said, pathos is a very easy device to abuse. When the writing focuses on evoking strong emotions from the reader, particularly without the backing of research and credibility, then the author likely wants to persuade you without evidence. Pathos-heavy writing is the stuff of conspiracy theories, extremism, and propaganda. (See also: logical fallacies.)

We won’t dive into all nuances of pathos—that’s a different article for a different day. But let’s see pathos in action through the poem “It’s What Happens, Sometimes, in October” by Angel Gonzalez :

When nothing occurs, and summer is gone, and leaves start to fall off the trees, and the cold rusts the edges of rivers, and slows down the flow of waters;

when the sky seems a violent sea, and birds swap landscapes, and words sound more and more distant, like whispers strewn by the wind;

then, as you know, it’s what happens:

those leaves, birds, clouds, strewn words and rivers, fill us with sudden restlessness and despair.

Don’t seek the cause in your hearts. It is merely what I said: what happens.

Through both natural imagery and appeals to the reader’s emotions, this poem evokes the sense of “restlessness and despair” that one sometimes feels in the peak of autumn. Of course, don’t just let the poem tell you how to feel: immerse yourself in its images, its windswept chill and “strewn words and rivers.” This poem doesn’t ask us to feel any particular way about autumn, only to observe the feelings that arise in us, which are simply “what happens” in October.

The following common rhetorical devices are employed to draw attention to a certain idea by playing with sentence structure. The English language can be toyed with in many different ways, and master rhetoricians know how to use syntax to their advantage through the following devices.

5. Anacoluthon—Interruptions in Grammatical Flow

An anacoluthon occurs when the writer employs different grammatical structures in the same sentence. This device is a grammatical discontinuity —the syntax of the sentence changes, often alongside an abrupt change in topic.

Both poets and rhetoricians use this device to highlight important ideas. Poets, and prose poets in particular, will use the device to replicate the disjointed nature of thoughts, as our brains naturally think and feel incoherently.

Here’s an example of anacoluthon, from our accomplished instructor Barbara Henning ( Retrieved from Posit ):

When I woke up, I was in the wrong place, holding a blooming dandelion in my hand.

I knew there was something wrong when I completely forgot the script so clearly encoded under my forehead.

The rush of spirit retreated through a pinhole and dropped me back in this square room with thunder and the sound of heavy metal.

On the other side of the window the microwave beeped. A door slammed. The tv was on automatic shut off.

The computer, some kind of advance on cuneiform writing was flashing the figure of a fish.

A drawing by Dr. Freud in 1878 of the neurons in a spinal ganglion. Through the pinhole of that glassy eye—

Dr. Agassiz made his student learn the truth about fish— and I put my ear to a conch shell.

The sound of a distant oceanic voice— “What is there is there. And that is that.”

Some poignant anacolutha occur at the ends of the final two stanzas. These interruptions in thought bring the reader to what is most important in the poem. Barbara’s poetry frequently finds insight through careful attention to the natural and the now; by bringing the reader back to the present through the image of the conch shell, the poem tries to remind us of the nature of things, of the complicated simplicity of the present.

6. Antithesis—Parallel Juxtaposition of Opposite Ideas

Antithesis refers to the placement of differing ideas side by side using parallel structure, with the intent of comparing and contrasting those ideas. It relies on two key concepts in writing: parallelism and juxtaposition .

A lot of common phrases in the English language rely on antithesis. You may have recently heard one of the following phrases:

• Go big or go home
• Get busy living or get busy dying
• No pain, no gain
• No guts, no glory
• If you fail to plan, then you plan to fail
• Out of sight, out of mind
• Hope for the best; prepare for the worst
• Easy come, easy go

Well written antitheses lodge themselves in the brain, laying out complex ideas in simple sentences. A lot of idioms and proverbs rely on this device. So do rhetoricians: see the below excerpt from Abraham Lincoln’s “Gettysburg Address” :

This excerpt shows a clean cause and effect, utilizing the power of antithesis to honor the Union soldiers that died for the nation’s survival.

7. Asyndeton—Absence of Conjunctions

A writer employs asyndeton when they don’t use conjunctions to separate clauses. This has the effect of making the sentence move quicker, while also making the sentence feel sharp and directed.

For example:

With conjunctions (polysyndeton): Swift and concise and pointed, the sentence makes you think and moves your heart and compels you to action.

Without conjunctions (asyndeton): Swift, concise, pointed, the sentence makes you think, moves your heart, compels you to action.

Notice how the flow and feel of the sentence changes with the inclusion of “and” in place of commas? The example of polysyndeton actually feels a little overwhelming. Later in this article, we’ll look at proper uses of polysyndeton.

Here’s an example of asyndeton from Othello (I.i) by William Shakespeare:

Asyndeton can also refer to a lack of conjunctions between sentences, as in the above excerpt.

8. Hypallage—Syntactic and Semantic Split in a Modifier

Hypallage occurs when the author uses a modifier (usually a single adjective) to describe something semantically, rather than syntactically.

Okay, that’s a tough sentence to parse. Let me give you an example right away, from “Dulce et Decorum Est” by Wilfred Owen :

So, the word “clumsy” is modifying the word “helmets.” This is occurring on a syntactic level. However, “clumsy” isn’t describing the helmets, it’s actually describing the boys fumbling to put them on during World War I.

In other words, there’s a split between the modifier’s syntactic and semantic meanings. (You can also argue that “helmets” is being used as a synecdoche to describe the boys themselves.)

Some phrases in the English lexicon naturally use hypallage. If you have a “restless night,” it’s not the night that was restless, it was you restless during the night.

Hypallage helps make an idea more concise, and it also builds an interesting visual link between two ideas. What does a clumsy helmet look like? We can almost see the boys struggling to put their helmets on, without the author having to say “the boys donned their helmets clumsily.”

9. Hyperbaton—Inverted Word Order

One of the common rhetorical devices, hyperbaton is!

A hyperbaton occurs when the writer writes a sentence in an unusual order, in order to emphasize the most salient aspect of the sentence. It is also called anastrophe. Rhetoricians may use this device for emphasis, and poets will certainly use it to preserve the rhythm and flow of a poem’s line. In formal poetry , such as the works of Shakespeare, hyperbaton makes it easier for the poem to retain its meter, like iambic pentameter.

Here are a few rhetorical devices examples using hyperbaton:

“The Tell-Tale Heart” by Edgar Allan Poe :

Measure for Measure by William Shakespeare :

“anyone lived in a pretty how town” by E. E. Cummings :

anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn’t he danced his did.

Women and men(both little and small) cared for anyone not at all they sowed their isn’t they reaped their same sun moon stars rain

children guessed(but only a few and down they forgot as up they grew autumn winter spring summer) that noone loved him more by more

when by now and tree by leaf she laughed his joy she cried his grief bird by snow and stir by still anyone’s any was all to her

someones married their everyones laughed their cryings and did their dance (sleep wake hope and then)they said their nevers they slept their dream

stars rain sun moon (and only the snow can begin to explain how children are apt to forget to remember with up so floating many bells down )

one day anyone died i guess (and noone stooped to kiss his face) busy folk buried them side by side little by little and was by was

all by all and deep by deep and more by more they dream their sleep noone and anyone earth by april wish by spirit and if by yes.

Women and men(both dong and ding) summer autumn winter spring reaped their sowing and went their came sun moon stars rain

For this last example, pay attention to how hyperbaton preserves the flow of the poem, and how it creates a sense of mystery. Cummings was a master of using language not to impart direct communication, but to create senses, mysteries, and feelings in the text.

10. Hypotaxis—Hierarchical Sentence Structure

Before we explain hypotaxis, a brief grammar refresher might prove helpful.

The components of a sentence are clauses and phrases. A clause is a part of a sentence that has a noun and a verb; sometimes, a clause is a complete sentence. A phrase is a group of words without a complete noun-verb pairing, such as the verb phrase “will be writing.” (There’s no noun.)

A subordinate clause is a clause that has a noun and a verb, but cannot stand on its own as a sentence. This is because the clause is modifying another part of the sentence. The bolded portion of the following sentence is subordinate: “I cannot use rhetorical devices, although I try very hard to. ”

Now, to hypotaxis. A hypotactic sentence is one that has dependent, or subordinate, clauses. This creates a hierarchical relationship in the sentence: the most important part of the sentence is the clause that can exist independently, while the subordinate clauses, which are less important, still modify and sharpen the message of the sentence.

Here’s an example—from Simone Weil’s Waiting for God . The sentences containing hypotaxis are bolded.

In the bolded sentences, take note of which is the main clause, and which clauses are subordinate. Notice how this makes the main clause the most important aspect of the sentence, creating a hierarchy of information, and a sense of relationships between different interconnected ideas.

Notice, also, how this passage has a mix of complex and simple sentences. Too much hypotaxis will prove much harder to read and comprehend.

The opposite of hypotaxis is parataxis.

11. Parataxis—Equally Weighted Sentence Components

In opposition to hypotaxis, parataxis is the use of equally weighted sentences or clauses in succession to one another. Parataxis requires short, simple sentences and clauses. You can identify this device by an absence of subordinating conjunctions—words that make a clause subordinate, like “although” or “because” or “if.”

Parataxis plays an important role in the following excerpt from Sula , by Toni Morrison:

The sequence of nouns (written using asyndeton) all blur together in one long list of things that don’t belong to Shadrack (the subject of this excerpt). Parataxis makes this sentence quick and even overwhelming, as the reader is immersed in Shadrack’s poverty upon leaving the military hospital he was confined to for so long.

Parataxis plays an equally interesting role in the below prose poem by Barbara Henning. Prose poets often employ parataxis as it resembles the disjointed nature of thought.

With a Bang

Many of the items in this prose poem are equally weighted, allowing the poem to represent the honest, fast-moving nature of human thought and experience. It is up to the reader to understand and interpret the many different items and ideas juxtaposed in this piece.

12. Polysyndeton—Succession of Coordinating Conjunctions

Polysyndeton is the opposite of asyndeton. A sentence with polysyndeton uses coordinating conjunctions (usually “and,” sometimes “or” or “nor”) to join a series of clauses, which serves to quicken the pace of the sentence itself.

Polysyndeton is prominent in these first two stanzas from the poem “It’s What Happens, Sometimes, in October” by Angel Gonzalez:

The repeating “ands” quicken the pace of the poem, reflecting the way the seasons change swiftly in October. They also help create rhythm and tension in the language of the poem itself.

13. Synesis—“Sense” Over Syntax

A synesis occurs when a sentence lacks grammatical agreement, for the purpose of highlighting an agreement in “sense.”

This is easier demonstrated than defined. See the below excerpt from Shakespeare’s King Lear :

“Revenges,” here, is grammatically incorrect. The word should be singular, because it should agree, grammatically and syntactically, with “I.” One does not typically carry out “revenges,” and it’s actually rare to see that word in the plural.

But, in this instance, it is correct logically. Lear is promising revenge on two people, and he might even be promising a different kind of revenge on each person. So, while the sentence is wrong in grammar, it is correct in sense. 

This break in grammar also highlights the word breaking grammatical rules. Our attention is drawn to “revenges”, and so, the idea of revenge is highlighted and heightened in the text.

Synesis is considered a form of anacoluthon. Like anacoluthon, synesis reflects the ways that we naturally communicate to one another. King Lear’s syneses and anacolutha sound true to his character, as these devices feel disjointed, much like a man blind with anger might speak.

The following common rhetorical devices are employed to convince the audience of something. Some of these devices are earnest, sincere, and logical; others are more manipulative.

14. Accismus—Feigned Indifference

What? No! I don’t want that thing (which I actually secretly really desperately want).

Accismus is a form of irony in which the speaker pretends not to desire something that they actually desire. They might do this so as not to scare off the person offering it, or to conceal that their entire motivation rests on this one thing.

For example, in Shakespeare’s Julius Caesar (I.ii), Caesar pretends not to want the crown of Rome:

Caesar at first refuses the crown before accepting, so that the people of Rome don’t catch on to the fact that this crown is the only thing he wants . Were they to know this, the people might realize that Caesar is power hungry and tyrannical.

15. Anecdote—Story-Based Evidence

An anecdote is a short, pithy story, utilized to demonstrate a key point in an argument. Anecdotes are often funny, but can be serious, too.

The teller of the anecdote must not get too lost in the story that they lose track of their own argument; but they must also demonstrate their point clearly and emphatically.

We use anecdotes all the time, making this one of the more common rhetorical devices in this list. Here’s an example, from Timothy Donnelly’s poem “All Through the War” ( in New England Review ):

I said to my daughter on the phone: Be an honest person,

just be an honest person. Be honest, be honest, be honest. Some days I can’t believe what it means to be alive some days. Some days I think about tearing myself apart but not exactly

with pleasure. Some days I know the strongest feeling is grief but I believe it must be love: it has to be, has to be, has to. Some days I feel each cell in my body has its fingers crossed.

The first two lines in this excerpt are an example of the anecdote rhetorical device, with the following lines furthering the argument of the poem. The speaker demonstrates exactly what he means by being honest, sharing thoughts that are both radically intimate and deeply heartfelt.

When an anecdote is moral in nature, it is sometimes referred to as an “exemplum.”

16. Antanagoge—Deflection by Counter Allegation

An antanagoge refers to a deflection in which, instead of answering a question or defending a point, the speaker makes a counter allegation.

For example, if I charged you with “eating all the Oreos,” you might reply that I “ate all the pecan pie last week.” (It’s true; I did.)

Antanagoge can also be employed syntactically. If you raise a claim and then answer that claim with an opposing sentiment, you have used antanagoge. For example, the phrase “when life gives you lemons, make lemonade.” The first clause is negative, the responding clause is positive.

17. Aporia—Feigned Uncertainty

An aporia occurs when the writer expresses uncertainty or doubt, with the intention of raising a certain argument and exploring it. This uncertainty is usually feigned, as the writer pretends to be uncertain so that they can enumerate their argument and ideas.

A famous example of this is Sojourner Truth’s “Ain’t I a Woman?” speech:

By frequently calling into question her own womanhood, Sojourner Truth highlights the blinding effects of racism—how Black women don’t get to have the same rights, privileges, and freedoms of white women, perhaps because no one even views them as women. This speech was quite provocative, and quite effective, for its time—delivered at the 1851 Woman’s Convention in Akron, Ohio, in the midst of rising racial tension and conversations about abolishing slavery.

Aporia is also a concept in philosophy, referring to irresolvable knots or logical impasses in a text.

18. Bdelygmia—Litany of Insults

Despite its weird and satisfying spelling, bdelygmia describes something neither weird nor satisfying: insults.

Specifically, bdelygmia is a litany of insults directed towards an opponent or someone with opposing ideas. It is sometimes called abominatio, is always a form of ad hominem , and it uses strong language to appeal to pathos.

At its cutest, bdelygmia is levied against the perceived antagonist of a story, such as this excerpt from How the Grinch Stole Christmas by Dr. Seuss:

The list of insults (using asyndeton, no less!) compels the reader to believe that the Grinch, for lack of a better word, sucks. This has a strong influence on the reader, as it tinges the way they view the Grinch’s place in the story, and it also moves the reader when the Grinch comes around to Christmas.

At its ugliest, bdelygmia is the stuff of internet discourse and political rhetoric. If someone is casting a litany of insults towards their opposition, recognize that this is an abuse of rhetoric, and that no substantial argument is being levied. Bdelygmia is what incites hate groups, political polarization, cyberbullying, and all sorts of intentionally hurtful discourse. Don’t fall for it!

19. Enthymeme—Deductive Reasoning With an Unstated Premise

In our section on the Logos rhetorical device, we explain that deductive reasoning follows a series of premises to reach a conclusion. For example:

• Rhetorical devices use language to persuade the audience.
• Amplification is a rhetorical device.
• Amplification uses language to persuade the audience.

In other words, A = B, and B = C, so A must equal C. (This is a syllogism, which we define later in this article.)

An enthymeme uses deductive reasoning without stating one of the premises. This is because the unstated premise is obvious to the reader. If we remove that first premise, then we get:

You don’t need to be told that rhetorical devices use language to persuade the audience; so, this enthymeme implies that premise. The reader trusts that you already know this basic concept. Using enthymeme conveys trust in the audience, which can help build ethos. It also lets the writer build more concise arguments.

20. Hypophora—Raising and Answering a Question

What can learning about common rhetorical devices do for your writing? Everything.

Also known as antipophora or anthypophora, hypophora is when the writer asks a question and immediately answers it. This rhetorical strategy allows the writer to raise a new topic, and it also invites the audience to participate in the work, since asking questions (even rhetorical questions) makes the audience feel engaged.

A hypophora occurs at the end of the poem “When she told me” by Jean Valentine:

When she told me over the phone you died I lay down and cried, “Don’t you stop loving me.”

In the West Side Market, I heard your voice from the ceiling say out loud to me, I love you.

In the park, to a chestnut tree, to the light through hundreds of leaves, I said, I love you.

It was you. And it was my life, run, to what,

—you closer than touch. 

21. Procatalepsis—Raising and Responding to Rebuttal

I know what you’re going to say. Rhetorical devices? Who needs those?

Procatalepsis is the act of raising a possible rebuttal to your argument, in order to address it right away. It strengthens the argument by addressing criticism and predicting what the opponent might say. As long as that rebuttal is properly addressed, this device can greatly enhance the ethos of an argument. Like hypophora, procatalepsis can also create surprising transitions in literary texts.

Frederick Douglass used procatalepsis in his 1846 “Appeal to the British People.” See below:

Douglass raises and rebuts the argument that he should confine his efforts to the United States. By connecting his plight to humanity’s plight, Douglass not only crafts an effective argument, but also boosts his appeal to ethos and pathos.

22. Reductio ad Absurdum—Taking an Argument to its Absurd Extreme

Reductio ad absurdum is a Latin phrase meaning “Reducing to the point of absurdity.” It is a means of arguing that a certain position is actually absurd. This is one of the operating mechanisms of satire, because it takes an argument to its logical extreme, demonstrating the futility and absurdity of that argument.

At its simplest, reductio ad absurdum simply explains why an argument is incorrect. For example:

The sun cannot orbit the Earth. Otherwise, the Earth would be 1,000,000 times the size of the sun!

At its more complex, reductio ad absurdum pokes fun at the absurdity of the ways we think and act. Satirist Jonathan Swift makes fun of the ways women prepare themselves in his poem “The Ladies’ Dressing Room”:

Five hours, (and who can do it less in?) By haughty Celia spent in dressing; The goddess from her chamber issues, Arrayed in lace, brocades and tissues…

Her ointments, daubs, and paints and creams, Her washes, slops, and every clout Such order from confusion sprung, Such gaudy tulips raised from dung.

The details and imagery here, as well as the mention that Celia spends five hours getting ready, makes Celia’s actions seem simply absurd.

Reductio ad absurdum can become a logical fallacy if it misinterprets the premise of an argument, or else doesn’t show a clear cause and effect between a premise and its logical extreme. Use this device wisely, logically, and convincingly.

23. Syllogism—If A=B, and B=C, Then A=C

If rhetorical devices help strengthen your writing, and syllogism is one of the common rhetorical devices, then a syllogism must strengthen your writing!

A syllogism is the base structure of deductive reasoning—the means by which specific claims are drawn from general knowledge. It follows the template “If A equals B, and B equals C, then A must equal C.”

Shakespeare, of course, master poet and rhetorician that he was, used syllogism in The Life of Timon of Athens .

FLAVIUS. “Have you forgot me, sir?”

TIMON. “Why dost ask that? I have forgot all men; Then, if thou grant’st thou’rt a man, I have forgot thee.”

Of course, employing a syllogism does not mean that the argument holds true. One of the claims A or B could prove incorrect, or else not encompass the full truth. This results in a faulty syllogism, or the syllogism fallacy. For example:

• All cats have four legs.
• A zebra has four legs.
• Therefore, a zebra is a cat.

While both claims A and B are generally true, they don’t encompass the full truth, because cats are not the only category of animals with four legs.

When a syllogism is employed with one claim instead of two (A = B, therefore A = C), that’s known as enthymeme, which is defined elsewhere in this article.

The following common rhetorical devices are employed to emphasize a certain idea. Many of these devices take ideas to their logical extreme, or else use repetition to make an argument stick.

24. Adynaton—Extreme Hyperbole

A hyperbole is an exaggeration. Adynaton is an extreme exaggeration—a hyperbole so out there that it’s beyond impossible. An adynaton might be employed for comic effect, or it might be evidence of the speaker’s extreme feelings.

Here’s an example: the poem “The Cow Speaks to the Child” by Evan Gill Smith :

There’s no me without you, says the cow in the sunlight being looked at, being drawn by the child with crayons.

Is the hill an almond? the child wants to know. Is life irrefutable?

The start of ‘me’ is the start of the ending of ‘you.’ See that hole in your sock where the cold can get through?

The child’s toe sticks through the hole now.

Some philosophers grow ulcers from eating loneliness. There’s not much we know.

The cow’s tongue smacks its lips.

The child fills in its spots with blue crayon and silence. A dragonfly or not.

The line “some philosophers grow ulcers from eating loneliness” can be considered adynaton, as philosophers cannot actually eat loneliness. The idea of growing ulcers from eating loneliness is certainly out there . Of course, this line is metaphorical, and it’s doing excellent work by making the abstract physical. But it’s also a great example of how to use adynaton, because the line is so surprising to the reader, and stands out so clearly from the rest of the piece, that it sticks with the reader long after they’ve finished the poem.

25. Amplification—Drawing Attention to Ideas

The amplification rhetorical device uses superfluous words, embellishments, and unnecessary additions to draw attention towards a particular idea which might otherwise escape the reader’s attention. (That sentence is one example!)

Sometimes, a concise, abruptly worded sentence might not convey what it intends to. The language itself is functional, but the sentence is so short, or so dense, that the reader won’t get it. Amplification ensures that the reader grasps the entirety of what the author believes to be a highly important idea.

Here’s an example, from The Twits by Roald Dahl . The amplifications have been bolded, so you can see how they’re highlighting the core idea.

If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.

Notice how the bolded additions aren’t adding anything “new” to the original ideas, but they help demonstrate, through imagery and example, a necessary concept for the reader to understand.

Be careful with this device. Err on the side of concision , unless you’re certain that the reader must slow down and sit with the idea(s) in the writing.

26. Antiphrasis—Using Words Opposite of Their Meanings

Antiphrasis is the use of words to mean the opposite of their dictionary definitions. For example, if you fell down on the asphalt, and I said “Nice going, ballerina!”, that would be antiphrasis—I do not think that was “nice going,” and I certainly don’t think you’re a ballerina.

Antiphrasis is the operating mechanism for things like irony, sarcasm, satire , and sometimes even euphemism and litotes. (We define euphemism in our article on dialogue ; litotes appears elsewhere in this article.)

Among rhetorical devices, antiphrasis helps writers emphasize what they mean by making the reader think. When the reader realizes that the words being used are opposite to what the writer means, the time spent thinking about those words makes them stick in the reader’s head.

Of course, antiphrasis can also be used as a weapon. It’s not a very kind device to use, so use it wisely and sparingly.

27. Asterismos—Calling Attention With Introductory Words

Behold , rhetorical devices! Asterismos is when you call attention to an idea with an introductory word or phrase. Behold! Alas! Hark! Listen. Hey…. Notice, I say to you!

We use asterismos all the time in daily conversation, and you might notice it used when writers try to capture colloquial speech in their work. Here’s one example, from Mark Twain’s The Adventures of Huckleberry Finn :

Asterismos won’t do much for the arguments in your writing. But, this device helps keep the audience’s attention, and it can clue them into something important that’s about to occur in the text.

28. Litotes—The Rhetorical Double Negative

These common rhetorical devices are not bad !

A litotes is a double negative for rhetorical emphasis. It is a form of pleonasm (defined elsewhere in this article) because it requires the addition of extra words to convey a certain point. By expressing something positive using a double negative, the writer makes the audience think a little harder, adding weight behind the feeling that the double negative expresses.

Here are some common expressions in the English vernacular that use Litotes:

• I don’t hate it.
• I can’t disagree.
• Not uncommon.
• Hardly difficult.
• It has not gone unnoticed.
• It’s not the worst!

And, here are a couple rhetorical devices in poetry involving litotes:

He hath not fail’d to pester us with message Importing the surrender of those lands Lost by his father, with all bands of law, To our most valiant brother. So much for him.— Hamlet (I.ii) by William Shakespeare

“To not harm each other is not enough. I want you

so much that you have no before .” —Our instructor Caitlin Scarano , out of their collection The Necessity of Wildfire .

Litotes is considered a form of meiosis, defined below.

29. Meiosis—Witty Understatement

A meiosis gives the impression that something is less important than it actually is. This understatement creates dramatic effect, because the reader knows that the thing described actually has profound importance. Understatement is considered a form of hyperbole.

In Romeo and Juliet , Mercutio offers several examples of meiosis during his death scene:

(after being stabbed) MERCUTIO. Ay, ay, a scratch, a scratch. Marry, ’tis enough. Where is my page? Go villain, fetch a surgeon.

ROMEO. Courage, man; the hurt cannot be much.

MERCUTIO. No, ’tis not so deep as a well, nor so wide as a church door, but ’tis enough, ’twill serve. Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses. Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death. A braggart, a rogue, a villain, that fights by the book of arithmetic!—Why the devil came you between us? I was hurt under your arm.

As with other rhetorical devices where what’s said differs from what’s meant, meiosis makes the reader slow down and think about what’s being spoken. The ironic dissonance between what’s said and what’s meant emphasizes the true meanings of the words themselves.

30. Metanoia—Immediate Self-Correction

Rhetorical devices are great—no, amazing!

When a writer backtracks or modifies something they just wrote, they use the device metanoia. This is not erasing and rewriting something—it is acknowledging the thing just written, and correcting it with a new, more accurate meaning. This immediate self-correction emphasizes the correction itself, making it stick in the reader’s brain.

Additionally, metanoia mimics the way that we talk in real life. Employing rhetorical devices like this tactically can help build trust and ethos with the audience.

Metanoia can be used to strengthen an argument, soften it, or make it more precise.

Here’s an example of the device, from The Great Gatsby by F. Scott Fitgerald:

The narrator’s self-correction indicates that he knows things now that he did not know before. Thus, this metanoia is also an example of foreshadowing , because it suggests we are about to learn much more about the owner of this mansion.

31. Paralipsis—Performative Refusal to Speak on a Topic

I will not bring up the importance of rhetorical devices in literature, so don’t ask me to talk about it!

Paralipsis is a form of raising a topic by pretending not to want to speak on that topic. In everyday speech, you might say something like “I can’t stand my mother-in-law’s perfume. Not to mention her drinking problem…”

That “not to mention” reveals the thing that you actually want to mention the most. Paralipsis is a form of irony and antiphrasis, because it’s emphasizing the thing that the writer pretends not to want emphasized.

This example comes from “A Modest Proposal” by Jonathan Swift:

Swift’s satirical essay argues that the Irish should start eating their 1 year old children to stave off famine and boost their economy. It is, of course, not a serious argument, because Swift is actually mocking the inability of the British to care for the Irishman’s plight. The above quote adds to the satire, because Swift is pretending like the other solutions aren’t worth anyone’s time, when in fact they are the solutions for helping Ireland.

32. Overstatement—Intentional Exaggeration

Rhetorical devices are the only way to make your writing sharp.

Not really. While rhetorical devices are powerful strategies for your writing, they’re not the only way to sharpen it. That was an overstatement—a device in which the writer intentionally exaggerates something to illustrate a point. While overstatements often add a sense of humor to the writing, poets in particular might use this device for strong, evocative emotions and imagery.

Here’s an example, from the poem “100 Bells” by Tarfia Faizullah (which also has great examples of parataxis):

This is, of course, a metaphor. The speaker probably doesn’t believe they actually have horns nestled beneath their hair. But, this visceral overstatement still rings true to the reader—it feels painful, intimate, real, true.

An overstatement is often another literary device, too, such as a metaphor or simile or hyperbole.

33. Tmesis—A Word or Phrase Embedded in Another Word or Phrase

Will rhetorical devices revolutionize your writing? Abso- freaking -lutely!

A tmesis (yes, spelled that way) is a word or phrase embedded in another word or phrase, usually for emphatic effect. It typically reflects the ways we speak to one another.

Some examples of tmesis in everyday speech include:

• That’s a whole nother story
• Leave it any old where you like.
• This is fan- bloody -tastic. (Typical of British English.)
• Ned Flanders in The Simpsons : “Well- diddly -elcome!”
• Barney Stinson in How I Met Your Mother : “Legen- wait for it -dary”

And, in literature:

While tmesis seems easiest to construct in languages like English, you can find examples of this device in both contemporary and classic literature. In Latin, Ovid’s Metamorphoses utilizes the device. Contemporarily, many stream of conscious poets and modernists have used tmesis to reflect the fractured nature of language in the brain.

The following common rhetorical devices are employed to make the writing memorable. Stylistic writing can prove both persuasive and compelling, sticking in the audience’s mind long after the final sentence.

34. Adnomination—Words with Repeating Roots

A single root word can produce many words in the contemporary English lexicon. For example, the latin “facere,” which means “to make” or “to bring forth,” has spawned a bunch of English words. Some examples:

Adnomination is the use of two or more words that share similar roots in a sentence. By doing this, the writer makes something about the sentence memorable. This is a rhetorical device useful for both rhetoricians and for marketers.

Here’s an example from the poem “The Choice” by Franz Wright (which repeats the prefix “some”):

35. Aposiopesis—The Unfinished Sentence

An aposiopesis occurs when the speaker leaves their sentence unfinished. Doing so forces the audience to use their imaginations and “fill in the blank,” which makes the speaker’s message more impactful—provided it’s clear what the speaker implies.

Use aposiopesis clearly, or else—!

Shakespeare employed this device often in his plays. One example comes from King Lear (I.iv):

Two examples of this rhetorical device appear in the bolded line. They both communicate something similar: the “such revenges” that King Lear will take on his daughters. What those revenges are, the reader doesn’t know—and that not knowing actually makes these words scarier, as the reader is left to fill in the blanks with their own imagination, and why wouldn’t we imagine the worst “terrors of the earth?”

36. Circumlocution—Unnecessary Wordiness

Circumlocution (also known as periphrasis) is the use of extraneous words to describe something that could be described concisely. That sentence is one example!

At its most useful, a circumlocution helps define words, so you’ll see this device employed in dictionary entries. It’s also common for language learners to use circumlocution when they don’t have a strong vocabulary—for example, saying “my mother’s sister” if you don’t know the word “aunt.”

Circumlocution is also the operating mechanism for euphemisms. Instead of saying a person is “dumb,” you might say they “didn’t have the best schooling growing up.” In literature, this is the operating mechanism for calling Voldemort “He-who-must-not-be-named.”

Among rhetorical devices, circumlocution is commonly used when politicians try to talk in circles, or else express empty ideas using bloated language. This use of circumlocution is also known as “equivocation.”

For example, if you ask a politician why they decided to close an important public school, they might say they’re trying to “allocate resources in the interest of all students” or “optimize the city’s learning experience through tailored resource allocation.” Well, those ideas sound fine and dandy, but they’re not actually answering the question, they’re just appealing to the audience by being ambiguous and seemingly-moral.

37. Dysphemism—Language That’s Derogatory Instead of Neutral

A dysphemism is the opposite of a euphemism. When you use words derogatorily, particularly when a neutral word or phrase already exists, you are employing dysphemism—a device sometimes used alongside bdelygmia.

• Euphemism: It’s time for Number Two.
• Neutral term: I need to use the restroom.
• Dysphemism: I’ve gotta shit.

So, most insults, swear words, and vulgarities are dysphemisms.

There is something to be said about connotation, context, and the audience: in some instances, a dysphemism could be a euphemism, and vice versa. If someone died, for example, and the nurse said that he “kicked the bucket,” this would normally be a euphemism. But, if the family prefers direct communication, or if the nurse laughed while she said it, then the nurse might have used a dysphemism instead.

38. Ellipsis—Omission of Words

Ellipsis is the omission of words from a sentence, encouraging the reader to “fill in the blank.” Aposiopesis is a form of ellipsis, but an ellipsis can happen anywhere in the text, and is much more open in terms of subject matter.

Take a look at the following example sentences. The words in brackets can be removed without changing the meanings of the sentences. If those bracketed words were removed, these sentences would then contain ellipses:

• I rode the train, and he [rode] the bus.
• I rode the train, [but I did] not [ride] the bus.
• Who rode the train to school today? I did [ride the train, myself.]
• I’ll ride the train, and you will [ride the train] too.

Ellipsis is a useful tool in the art of concise writing. It can also add ambiguity, particularly in literary works, if the writer wants to imply but not outright state something occurring in the story. Here’s a famous example from The Great Gatsby by F. Scott Fitzgerald, which suggests sexual relations between Mr. McKee and Nick Carraway:

Then Mr. McKee turned and continued on out the door. Taking my hat from the chandelier, I followed.

“Come to lunch some day,” he suggested, as we groaned down in the elevator.“Where?”

“Anywhere.”

“Keep your hands off the lever,” snapped the elevator boy.

“I beg your pardon,” said Mr. McKee with dignity, “I didn’t know I was touching it.”

“All right,” I agreed, “I’ll be glad to.”

… I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands.

“Beauty and the Beast… Loneliness… Old Grocery Horse… Brook’n Bridge…”

Then I was lying half asleep in the cold lower level of the Pennsylvania Station, staring at the morning Tribune, and waiting for the four o’clock train.

The ellipses are marked by the three dots (…). It’s the ellipses after the main bit of dialogue that suggests the two men had some sort of relations: we know time has passed, but not what precisely occurred so that Nick was beside the bed and McKee was in his underwear.

39. Isocolon—Parallelism With an Equal Number of Words or Syllables

A writer uses isocolon when they write a parallel sentence in which each element has the same number of words or syllables. This device is naturally built into certain other rhetorical devices, such as antithesis (“go big or go home!”), and it’s also built into poetry forms like iambic pentameter.

Here are two rhetorical devices examples that use isocolon:

Same number of words: 

Same number of syllables:

Notice how each item replicates the same grammatical and syntactical structures. Isocolon presents ideas in a balanced manner, maintaining rhythm and flow in the sentence while advancing equally weighted ideas.

Isocolon can be further defined as bicolon (two parallel items), tricolon (three parallel items), tetracolon (four parallel items), and so on.

40. Pleonasm—Intentional Redundancy

If you use rhetorical devices, you are a smart, intelligent person!

A pleonasm is an intentional redundancy. It is typically used to emphasize a certain idea or draw attention to it, though it can also add a sense of urgency and intensity to language, so long as it’s employed properly.

Pleonasm is very similar to tautology, which is when you use different words that have the same meanings side by side. The only difference is that a pleonasm is any sort of rhetorical magniloquence.

Some phrases in the English language are inherently pleonastic/tautological. You might have said or heard recently:

• I saw it with my own two eyes. (You can just say “my.” The “two” is redundant, too.)
• Can I have a chai tea ? (“Chai” literally means “tea.”)
• I’ll have the tuna fish for supper. (Just “tuna” communicates the same idea.)
• It may be possible.
• I got a free gift !
• Under false pretenses.
• PIN Number (PIN stands for Personal Identification Number.)
• ATM Machine (ATM stands for Automatic Teller Machine.)

Pleonasm is also a prominent feature in Mary Oliver’s poem “Every Dog’s Story”:

I have a bed, my very own . It’s just my size. And sometimes I like to sleep alone with dreams inside my eyes .

But sometimes dreams are dark and wild and creepy and I wake and am afraid , though I don’t know why. But I’m no longer sleepy and too slowly the hours go by.

So I climb on the bed where the light of the moon is shining on your face and I know it will be morning soon.

Everybody needs a safe place.

Pleonasm, here, emphasizes the dog’s intense emotions, and also somehow emulates the way a dog might think. The writing here certainly feels feasible for a dog’s own thoughts, if a dog thought in the English language.

The key here is whether or not the writer is abusing their poetic license: some pleonasm may be useful, though of course it’s best to err on the side of concision.

Master These Common Rhetorical Devices in Literature at Writers.com

Poets, rhetoricians, storytellers, lawyers, politicians, journalists, and translators all use these common rhetorical devices in their work. These devices can be leveraged for style, for argument, or for effective, evocative writing.

Whatever your screed, master these common rhetorical devices at Writers.com. Take a look at our upcoming classes , where you’ll receive expert feedback on every piece of writing you submit.

Sean Glatch

Useful article. The implications or the complications of using certain words or phrases are well explained.

The implications or the complications of using certain words or phrases are well explained. This helps to improve my writing skills.

This has built me. Making me to increase my standard in styles and other things in literary work.

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Rhetorical Device

Rhetorical device definition, types of rhetorical devices, examples from literature,  example #1.

“The world is charged with the grandeur of God. It will flame out, like shining from shook foil ; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man’s smudge and shares man’s smell: the soil Is bare now, nor can foot feel, being shod.”

Tell me not, in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem. Life is real! Life is earnest! And the grave is not its goal; Dust thou art, to dust returnest, Was not spoken of the soul. Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each to-morrow Find us farther than to-day. Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.

“Surely some revelation is at hand Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?”

Functions of Rhetorical Devices

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21 Top Rhetorical Devices With Examples

Are you looking for rhetorical devices with examples? Take a look at a few of the most popular rhetorical devices below.

A rhetorical device is a specific stylistic or communication tool that is used to convince or persuade the reader or listener to think in a certain way. You probably became familiar with a few of them in English class, such as antimetabole, antiphrasis, and epistrophe. Even though a lot of examples of rhetorical devices are things that you would find in everyday communication, they are often given a name because of how they are phrased and their overall grammatical structure.

A lot of people who use rhetorical devices in their everyday speech do not plan it out ahead of time. Therefore, if you are a writer, you need to find a way to weave rhetorical devices into your work naturally. That way, it will have your intended effect on the reader.

There are countless types of rhetorical devices, and they can be used in all levels of communication. Some rhetorical devices are single words while others might be entire phrases or sentences.

Some rhetorical devices might be used so often that you don’t even think they are anything different from your standard writing. At the same time, it is important to understand some of the top examples of rhetorical devices because they can help you shape and craft your arguments more effectively. What are some of the top examples of rhetorical devices?

1. Amplification

2. anacoluthon, 3. anadiplosis, 4. antanagoge, 5. apophasis, 6. alliteration, 7. euphemism, 8. assonance, 9. synecdoche, 10. hyperbole, 11. onomatopoeia, 12. anaphora, 13. asyndeton, 14. simile, 15. oxymoron, 16. personification, 17. rhetorical question, 18. metonymy, 19. zeugma, 20. anastrophe, 21. polysyndeton.

Amplification may be similar to alliteration or parallelism, but the repetition is much more direct. If you see a section in a literary work where the same word is repeated over and over again, the author is using amplification in an effort to increase the intensity of a specific moment.

You might think that the point will be clear after the first sentence; however, the repetition of the word helps to drive home the point to a greater extent. To effectively use amplification, you should not simply restate the same point. You need to use amplification to dive deeper to show just how important that moment is.

Here is an example of amplification from Charles Dickens’s work,  Our Mutual Friend :

“Mr. and Mrs. Veneering were bran-new people in a bran-new house in a bran-new quarter of London. Everything about the Veneering was spick and span new. All their furniture was new, all their friends were new, all their servants were new, their place was new.” Charles Dickens

Anacoluthon is a rhetorical device that involves the unexpected shift or change in the syntax or structure of a sentence. Even though it could indicate that the character somehow misspoke, it simply means you have intentionally changed the expectations of the reader in an effort to make an important point. You might use this rhetorical device to indicate that the character has been suddenly overcome with a specific emotion. Or, you might intentionally use this rhetorical device to grab the reader’s attention and shift it in another direction.

Here is an example of anacoluthon in a poem called  The Walrus and The Carpenter  by Lewis Carroll:

“‘The time has come,’ the Walrus said, ‘To talk of many things: Of shoes—and ships—and sealing-wax— And cabbages—and kings— And why the sea is boiling hot— And whether pigs have wings.’” Lewis Carroll

We can see that the syntax of this poem is disrupted after the second line to make a powerful point.

Anadiplosis refers to a specific type of repetition that takes place at the end of a phrase the beginning of the next one. The goal of this device is to draw a line from one phrase to the next, forcing the reader to pay specific attention to the way an idea unfolds. Without a doubt, one of the most famous examples of this literary device comes from Yoda, when he says:

“Fear leave to anger. Anger leads to hate. Hate leads to suffering.” Yoda

Notice that the end of each phrase is the beginning of the next one. It is easy for the reader or listener to follow the idea from one phrase to the next.

Antanagoge is the idea of purposefully balancing a negative idea with a positive one. You can think about this like yin and yang. If there is darkness somewhere, then there has to be light somewhere else. You can follow the same principle in your writing, balancing a negative idea with a positive one.

Even though there are a lot of examples of this specific literary idea, the most straightforward one is a common saying:

“When life gives you lemons, make lemonade.”

Now, lemons are not necessarily a bad thing for everyone, but the meaning of the saying is obvious. If life gives you a negative, use it to make a positive.

Apophasis is a literary device that creates irony. The reader will attempt to deny something while still saying that exact thing. For example, any phrase that begins with something such as, “it goes without saying,” or anything similar, that is followed up by the exact thing that the speaker says he or she is not going to say, is an example of apophasis.

For example, if a teacher says, “I’m not going to talk about your bad grammar,” and then proceeds to talk about bad grammar, this is an example of apophasis.

In writing, this can be used to create a sense of humor, but it can also be a powerful literary tool.

Alliteration is a rhetorical device where the author uses repeated initial consonant sounds at the beginning of words in an effort to make a point. They can give writing a sense of smoothness while also evoking certain emotions in the reader based on the sound of the specific consonant. Some consonants are more biting than others, so some forms of alliteration can have a slightly different effect. This does not necessarily involve the repetition of a word, but the repetition of consonant sounds.

Here is a classic example of alliteration:

“Peter Piper picked a peck of pickled peppers. If Peter Piper picked a peck of pickled peppers, where’s the peck of pickled peppers Peter Piper picked?”

We can clearly see the impact of the repeated “P” in this common nursery rhyme.

Read our alliteration guide

A euphemism is the substitution of something more pleasant for something that is significantly worse. For example, a lot of people say that someone passed away instead of saying that someone died. That is because the idea of someone passing away peacefully is much more pleasant than someone dying suddenly or traumatically.

Here is an example of a euphemism in the famous work by Ernest Hemingway,  Hills Like White Elephants :

“It’s really an awfully simple operation, Jig,” the man said. “It’s not really an operation at all.” Ernest Hemingway

The girl looked at the ground the table legs rested on.

“I know you wouldn’t mind it, Jig. It’s really not anything. It’s just to let the air in.” Ernest Hemingway

The operation being discussed above is an abortion. In the passage above, the phrase “letting the air in” is a euphemism that is used to make a character feel more comfortable prior to the procedure.

Assonance is a literary tool that repeats the same vowel in multiple words over and over again to add emphasis to a certain point. It can make a certain passage sound more musical. In essence, the repetition of vowel sounds draws more attention to a specific portion of the work.

As an example, someone might say that “he fell asleep underneath a cherry tree.” We can see in the phrase here that the “e” sound is repeated throughout the phrase to make it sound more rhythmic.

Read our guide to examples of assonance

Synecdoche is a literary tool where someone uses a small piece of something to represent the entire thing. For example, if someone says that Los Angeles won the NBA championship, they are likely referring to the Lakers (or Clippers) instead of the entirety of the city of LA, even though it might seem like the entire city won.

Here is a famous example of synecdoche from  The Great Gatsby , by F. Scott Fitzgerald:

“It was the kind of  voice  that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again.” F. Scott Fitzgerald

In this example, “the ear” is actually Nick. The ear is not moving, but the ear is used to represent Nick listening to the speaker.

Hyperbole is a specific type of rhetorical device that is intentionally exaggerated for the dramatic effect that it creates. The exaggeration might be so pronounced that the reader believes the exaggeration to be intentional. That is where the effect of this rhetorical device comes into play.

Here is an example of hyperbole from To Kill a Mockingbird, by Harper Lee, that accentuates the dullness of living in that specific town:

“A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County.” Harper Lee

Notice that we have probably gotten the point after the first example, but the exaggeration of the dullness paints a clearer picture.

Onomatopoeia is another common rhetorical device where someone uses the sound the word makes instead of the word itself. For example, if someone uses words such as sizzle, bark, meow, move, and oink in their work, they are using onomatopoeia. This is a way to make literary Works appear more lively and interesting. This is also a way to appeal directly to the senses of the reader.

Here is an example of onomatopoeia from the work titled  For Whom the Bell Tolls , by Ernest Hemingway:

“He saw nothing and heard nothing but he could feel his heart pounding and then he heard the clack on stone and the leaping, dropping clicks of a small rock falling.” Ernest Hemingway

The words click and clack are examples of onomatopoeia that resemble the noises that the falling objects are making.

Anaphora is a rhetorical device where someone repeats the same word over and over again at the start of the sentence. This is a way to create a dramatic effect in writing while also emphasizing a specific point. There are plenty of examples of anaphora throughout literature and history, but one of the biggest examples comes from the Gettysburg Address, by Abraham Lincoln:

“We cannot dedicate, we cannot consecrate, we cannot hallow this ground.” Abraham Lincoln

The repetition of the word “we” at the start of each phrase draws attention to one of the most important moments of the Gettysburg Address.

Asyndeton is a rhetorical device where the writer omits conjunctions that would otherwise bring multiple phrases together. Even though conjunctions are grammatically correct, there are some situations where the small words might actually break up the intended point of that specific passage. Therefore, the writer may decide to omit the conjunctions all together to draw attention to what truly matters.

Here is an example of asyndeton used by Shakespeare in Julius Caesar:

“Are all thy conquests, glories, triumphs, spoils, shrunk to this little measure?” Shakespeare

Given that this is a long series, you would expect a conjunction somewhere in there; however, it is nowhere to be found. It draws emphasis on an important moment in the play.

A simile is a rhetorical device that compares two things using the word “like” or “as.” For example, if you wanted to say that something was as strong as an ox, you would be using a simile. You are drawing a comparison between that specific object and its strength as compared to an ox.

Even though this is one of the most straightforward ways of comparing two things, it is an important rhetorical device. You might also say that someone was white as a ghost or fit as a fiddle.

Read our guide to simile vs metaphor

An oxymoron is a literary device where two things are placed in direct comparison to one another even though they are complete opposites. If you have two contradictory terms that appear to be closely related, you have an oxymoron. This is a powerful figure of speech that can emphasize a specific point in your writing.

For example, you may have heard the phrase “parting is such sweet sorrow.” Because sorrow is not sweet, this is an oxymoron. You may have also heard the term “defeaning silence.” If something is deafening, it should be so loud that it is overwhelming. Therefore, silence should not be deafening. That makes this conjunction an oxymoron.

Read our list of oxymoron examples

Personification is the act of giving human-like characteristics to something that is not human. Even though personification can play a number of roles, it is usually done to demonstrate creativity and enhance imagination. If you want the reader to imagine something specific, then you might want to assign human characteristics that make it easier to picture.

There are plenty of examples of personification throughout literature, but here is an example of personification from  The House on Mango Street , by Sandra Cisneros:

“But the house on Mango Street is not the way they told it at all. It’s small and red with tight steps in front and windows so small you’d think they were holding their breath.” Sandra Cisneros

Because the house is not alive, it should not be able to hold its breath; however, that is the expression the author decided to go with it.

A rhetorical question is another common literary device. A rhetorical question is a question that is not meant to be answered. By not answering the question, you insinuate that the answer is obvious, which draws emphasis to that specific point. Therefore, a rhetorical question is frequently used not only during public speaking but also in literature.

Here is an example of repeated rhetorical questions used by Shakespeare in his famous play,  Merchant of Venice :

“If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? If you wrong us, shall we not revenge?” Shakespeare

This passage is used to demonstrate the shared humanity among the individuals in the play. The answers to the questions are obvious, but the questions make the point.

A metonymy involves substituting the actual name of that specific thing or object with another word, usually shorter. For example, you may have heard a business executive called a “suit” in the past. Or, you might have heard someone point to “the track” when they actually mean a race track.

For example, you have probably heard a famous example of metonymy that comes from the play  Cardinal Richelieu , by Edward Lytton, when he says:

“The pen is mightier than the sword.” Edward Lytton

This is a phrase that has multiple examples of metonymy in it. In this play, the pen stands for the written word. Then, the sword stands for war or military force.

Zeugma is a specific figure of speech where there might be a single term that refers to multiple other terms in the same sentence that also appeals to multiple senses. For example, if you use the word “expired” in a sentence, it could refer to a specific document expiring, in addition to a food spoiling or a person passing away. This term applies to multiple other terms in the same sentence while also appealing to multiple senses. Zeugma is a Greek term that means “a yoking,” in essence linking a single word to two or more ideas.

As an example, if you were to say “He broke her car and her heart,” this is an example of zeugma. Both the car and heart are broken.

Anastrophe is the process of taking a phrase and inverting its usual order, completely flipping the syntax. This inversion of the word order can have a significant effect on the work. For example, a lot of poets invert the typical syntax of a sentence in an effort to maintain rhythm and rhyme. Even though anastrophe is far more common in poetry than it is in other forms of writing, it can also create a sense of depth that grabs the attention of the reader.

For example, if Yoda says, “powerful you have become with the dark side,” this is an example of anastrophe. The typical ordering of the phrase should be “you have become powerful with the dark side.” He inverts it, creating anastrophe, while also creating a sense of wisdom on the part of Yoda.

Polysyndeton is the practice of repeating multiple conjunctions in quick succession. In writing, you are supposed to Hughes, two separate things that form a series of three or more objects. Even though this might be grammatically correct, there are certain situations where you might want to remove the commas and use conjunctions instead. This could create a humorous effect, or it could be used to draw attention to an important point in the writing.

Here is an example of polysyndeton from the work  After the Storm , by Ernest Hemingway:

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.” Ernest Hemingway

In the example above, we can see that the author repeatedly uses the conjunction “and” in an effort to draw attention to just how anxious the character feels at that specific moment. There are numerous ways that polysyndeton can be used in literature, which is why it is one of the most important rhetorical devices.

• Literary Terms
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• Definition & Examples
• When & How to Write a Rhetorical Device

I. What is a Rhetorical Device?

A rhetorical device is any language that helps an author or speaker achieve a particular purpose (usually  persuasion , since rhetoric is typically defined as the art of persuasion). But “rhetorical device” is an extremely broad term, and can include techniques for generating emotion, beauty, and spiritual significance as well as persuasion.

II. Examples of Rhetorical Devices

Hyperbole is a word- or sentence-level rhetorical device in which the author exaggerates a particular point for dramatic effect. For example:

Berlin was flattened during the bombing.

Because the city was not literally left flat, this is an exaggeration, and therefore hyperbole. But it still helps express the author’s main point, which is that the city of Berlin was very severely damaged.

Analogy is an important device in which the explains one thing by comparing it to another. At the sentence level, this might be as simple as saying “my cat’s fur is as white as a cloud .” But analogies can also function at much higher levels, including paragraphs and whole essays . For example, you might argue against war by drawing an extended analogy between the war on terrorism and World War 2. The success of the whole argument would depend entirely on how well you could persuade readers to accept the analogy!

The counterargument is the most important rhetorical device for college-level essays. A counterargument is a response to your own view – for example, if you’re arguing in favor of an idea, the counterargument is one that goes against that idea. In order to make your own argument perspective, you have to acknowledge, analyze, and answer these counterarguments.

III. Types of Rhetorical Devices

Because the term is so broad, there are countless ways to categorize rhetorical devices. For example, we might group them by function: e.g. persuasive devices, aesthetic devices (for creating beauty), or emotional devices. We could also group them according to the types of writing they belong to: e.g. poetry vs. essays.

The clearest way to categorize, though, is probably by scale: that is, what level of the writing does each device affect?

A. Word Level

Before we even get to full sentences, there are many rhetorical devices that operate at the level of individual words or groups of words. For example, the “metonym” is a rhetorical device in which a part stands in for the whole. For example, you might say that a ship is staffed with “twenty hands,” where each hand stands in for a full human being.

B. Sentence Level

Most rhetorical devices operate at the sentence level. They affect the meaning of a sentence, or a chunk of a sentence. For example, parallelism is an important rhetorical device in which different parts of a sentence have the same grammatical structure: “I am disgusted by your methods , but impressed with your results .” Notice how each underlined portion has the same pattern of adjective, preposition, pronoun, and plural noun.

C. Paragraph Level

Paragraph-level rhetorical techniques are especially important in essays, where they help to signal the structure of the argument. One example would be the topic sentence. Topic sentences open the paragraph and introduce its main idea, which is then supported and explained in the body of the paragraph. This is one of the most important techniques for structuring paragraphs effectively.

D. Structural Level

Some rhetorical devices cover the whole structure of a piece of writing. For example, the 5-paragraph essay is a rhetorical device that many people learn in high school for structuring their essays. The five paragraphs involve an introduction, 3 body paragraphs, and a conclusion. This structure is rejected by many college-level writing instructors (and thus may be thought of as a bad rhetorical device), but it’s a rhetorical device nonetheless.

IV. The Importance of Rhetorical Devices

Rhetorical devices are just like artistic techniques – they become popular because they work. For as long as human beings have been using language, we’ve been trying to persuade one another and evoke emotions. Over time, we’ve developed a huge variety of different techniques for achieving these effects, and the sum total of all such techniques is encapsulated in our modern lists of rhetorical techniques. Each rhetorical device has a different purpose, a different history, and a different effect!

V. Examples of Rhetorical Devices in Literature

“If we shadows have offended , think but this and all is mended : that you have but slumbered here while these visions did appear .” (Shakespeare, A Midsummer Night’s Dream )

This famous quote, like many of Shakespeare’s lines, employs rhyme and meter, the two most basic rhetorical devices in verse. Although not all poetry has rhyme or meter, most classical poems do, and these rhetorical devices were probably important in helping poets memorize their works and sing them in front of audiences.

The dialogue form is an important structural device used in philosophy and religious scriptures for thousands of years. By putting different arguments in the mouths of different characters , philosophers can present their readers with a broader range of possible views, thus bringing more nuance into the conversation. This device also allows philosophers to make their own arguments more persuasive by responding to the various counterarguments presented by characters in the dialogue.

VI. Examples of Rhetorical Devices in Popular Culture

(adsbygoogle = window.adsbygoogle || []).push({}); “Ah, yes – Zorro! And where is he now, padre? Your masked friend? He hasn’t shown himself in 20 years!” (Don Rafael, The Mask of Zorro )

A rhetorical question is a question that the audience is not supposed to answer – either because the answer is obvious, or because the speaker is about to answer it for them. It’s one of the most common techniques in oratory (speeches) and essays. In this case, Don Rafael is using a rhetorical question to undermine the crowd’s confidence in Zorro, their legendary defender.

“The microphone explodes, || shattering the mold.” (Rage Against the Machine, Bulls on Parade )

The two vertical lines (||) represent a caesura , or pause. This is a common rhetorical device in poetry, but is also found in music. In the recording of the song, there’s a beat’s pause in between “explodes” and “shattering.”

VII. Related Terms

Rhetoric is the art of persuasion, either through speaking or writing. In ancient Greece, the concept of rhetoric was given huge cultural importance, and philosophers like Aristotle wrote whole books on rhetoric and the techniques of convincing others.

Today, people sometimes view rhetoric in a negative light (as when someone says of a politician’s speech that it was “all rhetoric and no substance”). But this is a shame, since we are very much in need of leaders who have mastered the art of persuasive reasoning and respectful argumentation. Rhetoric has fallen from its former place of honor, and perhaps this explains the lack of productive dialogue in our political arena, driven as it is by sound bites and personal attacks.

Figure of Speech

When a rhetorical device departs from literal truth, this is called a “figure of speech.” The most common figure of speech is a metaphor, in which one thing stands for another (e.g. “he unleashed a hurricane of criticism”). However, many rhetorical devices employ literal truth and therefore should not be thought of as figures of speech.

List of Terms

• Alliteration
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• Malapropism
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What Is a Rhetorical Device? Definition, List, Examples

• An Introduction to Punctuation

• B.A., English, Rutgers University

A rhetorical device is a linguistic tool that employs a particular type of sentence structure, sound, or pattern of meaning in order to evoke a particular reaction from an audience. Each rhetorical device is a distinct tool that can be used to construct an argument or make an existing argument more compelling.  

Any time you try to inform, persuade , or argue with someone, you’re engaging in rhetoric. If you’ve ever had an emotional reaction to a speech or changed your mind about an issue after hearing a skilled debater's rebuttal, you've experienced the power of rhetoric. By developing a basic knowledge of rhetorical devices, you can improve your ability to process and convey information while also strengthening your persuasive skills. 

Types of Rhetorical Devices

There are four types of rhetorical devices:

• Logos. Devices in this category seek to convince and persuade via logic and reason. They will usually make use of statistics, cited facts, and statements by authorities to make their point and persuade the listener.
• Pathos. These rhetorical devices base their appeal in emotion. This could mean invoking sympathy or pity in the listener, or making the audience angry in the service of inspiring action or changing their mind about something.
• Ethos. Ethical appeals try to convince the audience that the speaker is a credible source, that their words have weight and must be taken seriously because they are serious and have the experience and judgment necessary to decide what’s right.
• Kairos. This is one of the most difficult concepts in rhetoric; devices in this category are dependent on the idea that the time has come for a particular idea or action. The very timeliness of the idea is part of the argument.

Strongest Rhetorical Devices

Since rhetoric dates back to ancient times, much of the terminology used to discuss it comes from the original Greek. Despite its ancient origins, however, rhetoric is as vital as ever. The following list contains some of the most important rhetorical devices to understand:

• Alliteration , a sonic device, is the repetition of the initial sound of each word (e.g. Alan the antelope ate asparagus).
• Cacophony , a sonic device, is the combination of consonant sounds to create a displeasing effect. 
• Onomatopoeia , a sonic device, refers to a word that emulates the real-life sound it signifies (e.g. using the word "bang" to signify an explosion).
• Humor  creates connection and identification with audience members, thus increasing the likelihood that they will agree with the speaker. Humor can also be used to deflate counter-arguments and make opposing points of view appear ridiculous.
• Anaphora  is the repetition of certain words or phrases at the beginning of sentences to increase the power of a sentiment. Perhaps the best-known example of anaphora is Martin Luther King Jr.'s repetition of the phrase "I have a dream."
• Meiosis is a type of euphemism that intentionally understates the size or importance of its subject. It can be used to dismiss or diminish a debate opponent's argument. 
• Hyperbole  is an exaggerated statement that conveys emotion and raises the bar for other speakers. Once you make a hyperbolic statement like “My idea is going to change the world," other speakers will have to respond in kind or their more measured words may seem dull and uninspiring in comparison.
• Apophasis  is the verbal strategy of bringing up a subject by denying that that very subject should be brought up at all.
• Anacoluthon  is a sudden swerve into a seemingly unrelated idea in the middle of a sentence. It can seem like a grammatical mistake if handled poorly, but it can also put powerful stress onto the idea being expressed.
• Chiasmus  is a technique wherein the speaker inverts the order of a phrase in order to create a pretty and powerful sentence. The best example comes from President John F. Kennedy's inaugural address: "Ask not what your country can do for you — ask what you can do for your country ."
• Anadiplosis  is the use of the same word at the end of one sentence and at the beginning of the subsequent sentence, forming a chain of thought that carries your audience to the point you’ve chosen.
• Dialogismus  refers to moments when the speaker imagines what someone else is thinking, or speaks in the voice of someone else, in order to explain and then subvert or undermine counterpoints to the original argument.
• Eutrepismus , one of the most common rhetorical devices, is simply the act of stating points in the form of a numbered list. Why is it useful? First off, this devices makes information seem official and authoritative. Second, it gives speech a sense of order and clarity. And third, it helps the listener keep track of the speaker's points.
• Hypophora   is the trick of posing a question and then immediately supplying the answer. Do you know why hypophora is useful? It's useful because it stimulates listener interest and creates a clear transition point in the speech.
• Expeditio  is the trick of listing a series of possibilities and then explaining why all but one of those possibilities are non-starters. This device makes it seem as though all choices have been considered, when in fact you've been steering your audience towards the one choice you desired all along.
• Antiphrasis  is another word for irony. Antiphrasis refers to a statement whose actual meaning is the opposite of the literal meaning of the words within it.
• Asterismos . Look, this is the technique of inserting a useless but attention-grabbing word in front of your sentence in order to grab the audience’s attention. It's useful if you think your listeners are getting a bit bored and restless.

Examples of Rhetorical Devices

How do you identify a rhetorical device? In fact, you hear them in daily life. Rhetoric isn’t just for debates and arguments; these devices are used in everyday speech, fiction and screenwriting, legal arguments, and more. Consider these famous examples and their impact on their audience.

• “ Fear leads to anger. Anger leads to hate. Hate leads to suffering.” – Star Wars: The Empire Strikes Back . Rhetorical Device : Anadiplosis . The pairs of words at the beginning and ending of each sentence give the impression that the logic invoked is unassailable and perfectly assembled.
• “ Ask not what your country can do for you, ask what you can do for your country.” —President John F. Kennedy. Rhetorical Device : Chiasmus . The inversion of the phrase can do and the word country creates a sense of balance in the sentence that reinforces the sense of correctness.
• "I will not make age an issue of this campaign. I am not going to exploit, for political purposes, my opponent’s youth and inexperience." –President Ronald Reagan Rhetorical Device : Apophasis . In this quip from a presidential debate, Reagan expresses mock reluctance to comment on his opponent's age, which ultimately does the job of raising the point of his opponent's age.  
• “ But in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow this ground.” —Abraham Lincoln, Gettysburg Address . Rhetorical Device : Anaphora . Lincoln’s use of repetition gives his words a sense of rhythm that emphasizes his message. This is also an example of kairos : Lincoln senses that the public has a need to justify the slaughter of the Civil War, and thus decides to make this statement appealing to the higher purpose of abolishing slavery. 
• “ Ladies and gentlemen, I've been to Vietnam, Iraq, and Afghanistan, and I can say without hyperbole that this is a million times worse than all of them put together.” – The Simpsons . Rhetorical Device : Hyperbole . Here, hyperbole is used to humorous effect in order to undermine the superficial point of the sentence.
• Rhetoric. The discipline of discourse and persuasion via verbal argument.
• Rhetorical Device. A tool used in the course of rhetoric, employing specific sentence structure, sounds, and imagery to attain a desired response.
• Logos. The category of rhetorical devices that appeal to logic and reason. 
• Pathos. The category of rhetorical devices that appeal to emotions.
• Ethos.  The category of rhetorical devices that appeal to a sense of credibility. 
• Kairos.  The concept of “right place, right time” in rhetoric, wherein a specific rhetorical device becomes effective because of circumstances surrounding its use.
• “16 Rhetorical Devices That Will Improve Your Public Speaking.” Duarte , 19 Mar. 2018, www.duarte.com/presentation-skills-resources/rhetoric-isnt-a-bad-thing-16-rhetorical-devices-regularly-used-by-steve-jobs/.
• Home - Ethos, Pathos, and Logos, the Modes of Persuasion ‒ Explanation and Examples , pathosethoslogos.com/ .
• McKean, Erin. “Rhetorical Devices.” Boston.com , The Boston Globe, 23 Jan. 2011, archive.boston.com/bostonglobe/ideas/articles/2011/01/23/rhetorical_devices/ .
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• 100 Awfully Good Examples of Oxymorons
• The 201 Most Commonly Misspelled Words in English
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Common Rhetorical Devices Used in Speeches

September 23, 2022 by Beth Hall

As students prepare for the AP Lang exam, there is so much to focus on. One critical element involves understanding common rhetorical devices used in speeches. Students need to have confidence in knowing these to avoid forgetting them due to pressure. Thankfully, this helpful list provides an excellent overview of common devices and tips to ask yourself when the exam begins. 

What are Rhetorical Devices?

Rhetorical analysis prompts now ask for rhetorical choices (verb), but analyzing a rhetorical device (noun) is okay. Before identifying common rhetorical devices used in speeches, it is essential to know what this means. Ultimately, it is a specific set of words to convey meaning, provoke a response, or provide persuasion based on the topic. You apply rhetorical devices whenever you try to inform, persuade, or argue. 

Honestly, it can be challenging to identify rhetoric. However, it is helpful to ask what the person is doing. Are they using humor? Flattery? Knowing this will help you with your response. 

Common Rhetorical Devices 

You will feel pressure when you begin the exam as the clock ticks. However, consider this list to recall common rhetorical devices used in speech. 

Diction: In simpler terms, diction means word choices. Every author uses this while writing. This means you need to specify which type of diction. For instance, is it scientific diction? Patriotic diction? Then, think about the word choices used to convey that tone. Ultimately, you are looking for words the author uses in a meaningful and intentional way. 

Tone: While examining word choices, you want to look at the tone they create. Additionally, it is crucial to identify if there is a shift in tone. If there is, you can identify what the tone shifted from and to.

Appeals: Essentially, other choices create appeals. So, you can embed the appeals into your analysis of other devices. 

• Logos: You will see facts, statistics, and examples to rationally prove an argument.
• Pathos: The writer is making an emotional appeal. However, you do not want to say this. Instead, you want to specify specific emotions, such as patriotism or fear. Often, writers do this to create unity, motivate others, or inspire fear and outrage.
• Ethos: Many times, this is an appeal to credibility or morals. Like logic and ethos, you want to avoid using the word pathos. Instead, you want to examine why the writer needs to bolster their credibility.

Questions: Often, students quickly identify this common device used in speeches due to punctuation. A helpful format involves discussing how the writer poses a question and answers it. Then, address how it affects the reader. Be sure to focus on why the author is asking the questions versus stating the question is rhetorical. It is so hard to know if the question is rhetorical or not. 

Repetition: While this device is often easy to recognize, it is hard to analyze effectively. While repetition emphasizes a specific message, it is crucial to look a bit deeper. Instead of using fancy terms, use a strong verb to explain what the writer repeats. Specifically, remember that while you are reading a speech, it was once said aloud. So, repetition may form cohesion in the speech. It may also reinforce the message. 

Contrast: If this device is in the speech, it is vital to determine why contrasting the items is meaningful. Are there positive and negative word choices? Comparisons of two people or groups? Ultimately, you want to answer why this connection is significant to the speech. 

Comparison: As the opposite of contrast, writers may also show meaningful similarities between two items or aspects. Writers may do this through figurative language or to show links to items that seem different. If you use this device, identify the comparison and explain how it helps the writer convey the message. 

Exemplification: Writers may also use examples to prove a claim. You want to be sure to examine the examples and explain why the writer uses them. Additionally, address why the example is relevant to the audience and occasion. 

Parallelism: Many times, this common device used in speech is actually in one of the other devices. However, it still deserves an honorable mention. If the writer uses the same or similar grammatical structure, explain why. Is the writer creating balance? Cadence in the speech? Emphasizing certain words? 

Allusion: There are many types of allusions, including reference to famous literature, art, and people. For example, biblical allusions are common in some speeches. While not every reference is an allusion, writers may allude to something to help the listener/reader make meaningful connections. 

Anecdotes: Often, these short personal stories have a narrative style. You want to explain how the story develops the writer’s message and why the writer selected it. 

Definition: When writers use this common device, they define the term. You want to explain why this definition is there. In other words, explain how the definition helps portray the message. 

What if I Don’t See Devices?

When it comes time to take the AP Lang Exam, panic sets in. Due to this, you may forget what you’ve learned in class. However, just pause and take a deep breath. Then, refocus on the question. Ask yourself, “What is the writer doing?” Specifically, do not worry about naming a specific device. Just look for what is happening. After, look at the language and type of diction. This will help get the ideas flowing for the overall tone and mood. 

The AP Lang exam is challenging. If you are feeling stressed or overwhelmed, it is understandable! However, believe in yourself! Set time aside to prepare. Use your practice prompts, notes, and tips to help. For instance, this list is a great place to explore common rhetorical devices used in speeches.

Check out this blog post for more info about rhetorical choices.

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The Top 41 Rhetorical Devices That Will Make Your Words Memorable

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For many, public speaking is one of the most terrifying things imaginable. Thankfully, we can rely on the many, many rhetorical devices to give us a helping hand.

What are rhetorical devices ?

A rhetorical device is typically defined as a technique or word construction that a speaker or writer uses to win an audience to their side, either while trying to persuade them to do something or trying to win an argument.

As you are about to see, the majority of rhetorical devices have names that come from Greek or Latin. While the concept of public speaking developed early around the world, much of what we know about the art of public speaking comes to English speakers from the ancient Greeks. The Greeks cultivated the art of rhetoric and many great philosophers, such as Plato and Aristotle, thoroughly studied it. The ancient Romans greatly valued rhetoric as well and they continued to build on the Greek rhetorical traditions that came before them.

What worked for the ancient Greeks and Romans still works wonders today. Rhetorical devices are effective tools that any writer or speaker can use to make their words more impactful to an audience. Rhetorical devices make speeches more persuasive, writing more memorable, and are just what you need if you are trying to really take advantage of ethos, pathos, and logos .

Rhetorical devices vs. literary devices

Literary and rhetorical devices are sometimes discussed separately, but it’s important to note the relationship and occasional overlap between the two. A l iterary device is an element, like a metaphor, imagery, and others, that draws us into a story . Have you ever been so wrapped up in a story, book, song, or poem, that you just couldn’t walk away from it? If so, there’s a good chance the writer has mastered the art of using literary devices.

To compare, rhetorical devices are often described as those elements that are incorporated intentionally to invoke responses in the reader, as well as influence the tone of a work.

Our comprehensive guide to literary devices is chock full of examples from masterful writers.

Often, rhetorical devices emphasize a specific language pattern, word, sentence structure, or rhyming pattern. They include formative techniques, like repetition or hyperbole , that accentuate certain elements of a work for the purpose of getting the reader’s attention, persuading them, or drawing out an emotional response. It is often said rhetorical devices are used to elicit a certain emotion via persuasion, whereas literary devices may be primarily used to enhance storytelling.

In this article, we’ll take a look at some of the most popular, effective, and interesting rhetorical devices that turn our words into award-winning speeches and writing.

✒️ Want to try a quiz first?

We have a quick quiz for you if you want to see how far your knowledge of rhetorical devices goes. Or review the terms below first so you can test what you’ve learned.

List of 41 top rhetorical devices

1. metaphor.

A metaphor is a comparison in which something is said to figuratively be something else.

Example: He was a wolf among sheep.

2. hyperbole

A hyperbole is an intentional exaggeration.

Example: The plate exploded into a million pieces.

3. alliteration

Alliteration is repeating the same or similar sounds at the beginning of words.

Example: She sells seashells by the sea shore.

An analogy is a comparison between two similar things, typically using figurative language. Metaphors and similes—more on them later—are usually considered to be types of analogies. Sometimes, analogies are considered to be a unique device that is a comparison that explains itself; basically, a complex metaphor or long simile.

Example: Life is like a box of chocolates: you never know what you are going to get.

5. onomatopoeia

An onomatopoeia is a word that imitates the sound it refers to.

Example: The thunder boomed and the lightning crashed.

6. allusion

Allusion is the act of casually referencing something, usually a work of popular culture.

Example: Finishing his memoir was his white whale.

7. oxymoron

Oxymoron is a figure of speech that uses two opposite words together.

Example: The treaty led to a violent peace.

Satire is using humor to criticize public figures.

Example: When Senator Jackson said “numbers don’t lie,” he forgot that his first name wasn’t “Numbers.”

In rhetoric, the word paradox refers to making a statement that seems self-contradictory or impossible but actually makes sense.

Example: Youth is wasted on the young.

A simile is a comparison in which something is said to figuratively be like something else.

Example: It was as hot as a desert this morning.

Learn about different types of poems (and see what rhetorical devices they may use).

In rhetoric, the notoriously confusing word irony means to use words to mean the opposite of their literal meaning.

Example: Ashley said it was a beautiful day while drying off from the drenching rain. (Ashley ironically referred to poor weather as “beautiful.”)

12. personification

Personification is the act of giving human elements to non-human things.

Example: The beautiful valley spread its arms out and embraced us.

13. anecdote

An anecdote is a brief story about something that happened to the speaker, usually something funny or interesting.

Example: Five years ago, I went to the store and met some clowns. Those clowns gave me the advice I am sharing with you now.

14. euphemism

Euphemism is using alternative language to refer to explicit or unpleasant things.

Example: The baseball struck him in a sensitive area.

15. connotation

Connotation is using words to suggest a social or emotional meaning rather than a literal one.

Example: This is a house, but I want a home.

16. meiosis

As a rhetorical device, meiosis means using euphemism to minimize the importance or significance of something.

Example: We must put an end to this peculiar institution. (“Peculiar institution” is a euphemism for slavery.)

17. apostrophe

In rhetoric, apostrophe occurs when a writer or speaker directly addresses an absent person, a concept, or an inanimate object.

Example: You have made a fool out of me for the last time, washing machine!

18. antithesis

Antithesis is using parallel sentences or clauses to make a contrast.

Example: No pain, no gain.

19. sarcasm

Sarcasm is using irony to mock something or to show contempt.

Example: Oh, yeah, John is a great guy. A great guy who took the last slice of pizza.

20. consonance

Consonance is a repetition of consonants or consonant sounds.

Example: Mike likes Ike’s bike.

21. rhetorical question

A rhetorical question is a question that isn’t intended to be answered. The point of asking the question is to make an audience think or to cause an emotional reaction.

Example: Can we really know what our place in the universe is? We have asked ourselves this question for millennia.

22. epithet

An epithet is a nickname or descriptive term used to refer to someone.

Example: You need to listen to me and not Clueless Kevin over there.

23. anaphora

Anaphora is the repetition of a word or words at the start of phrases, clauses, or sentences.

Example: I came, I saw, I conquered.

Martin Luther King Jr’s “I Have A Dream” speech is a classic example of anaphora. Read about it here.

In rhetoric, climax is ordering words so that they build up in intensity.

Example: Look at the sky! It’s a bird! A plane! Superman!

25. cacophony

Cacophony is the act of purposefully using harsh sounds.

Example: The gnashing of teeth and screeching of bats kept me awake.

26. assonance

Assonance is the repetition of the same vowel sound with different consonants.

Example: She and Lee see the bees in the tree.

A person is making a pun when they humorously use words with multiple meanings or words with similar sounds to create wordplay.

Example: The farmer tried to get his cows to get along, but they insisted on having a beef with each other.

28. parallelism

Parallelism is using grammatically similar phrases or sentences together.

Example: Fool me once, shame on you. Fool me twice, shame on me.

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29. aphorism

An aphorism is a short sentence that presents truth or opinion, usually in a witty or clever manner.

Example: A penny saved is a penny earned.

30. synecdoche

Synecdoche is when a part of something is used to refer to a whole.

Example: The commander had an army of 10,000 swords. (The people holding the swords were there, too.)

Parody is an imitation of something with the intent to poke fun at it.

Example: If Edgar Allen Poe had written this speech, it might have opened with “Here we are, weak and weary, gathered on a Monday dreary.”

32. colloquialism

A colloquialism is an instance of informal language or a local expression. The act of using such language is also called colloquialism .

Example: Here in Philly, we love to eat hoagies and all kinds of tasty jawns.

33. understatement

Understatement is using language to intentionally lessen a major thing or event.

Example: The erupting volcano was a little problem for the neighboring city.

34. syllogism

Syllogism is an argument based on deductive reasoning that uses generalizations to reach specific conclusions. Usually, a syllogism follows the format of “A is B. B is C. So, A is C.”

Example: Dogs are mammals. Biscuit is a dog. Therefore, Biscuit is a mammal.

Learn more about deductive and inductive reasoning.

An eponym can refer to “a word based on or derived from a person’s name,” such as the Gallup poll , named after statistician G.H. Gallup, or Reagonomics (a combination of the last name Reagan and economics ). As a rhetorical device, an eponym can be an allusion to a famous person.

Example: Nick is the LeBron James of birding.

36. metonymy

Metonymy is when the name of something is replaced with something related to it.

Example: He loved music from the cradle (birth) to the grave (death).

37. parenthesis

In rhetoric, parenthesis is an interruption used for clarity.

Example: The audience, or at least the paying members of the audience, enjoyed the show.

38. expletive

In rhetoric, an expletive is an interrupting word or phrase used for emphasis.

Example: The eggs were not, in any sense of the word, delicious.

39. metanoia

In rhetoric, metanoia refers to any instance of self-correction. Metanoia can involve things like retracting a previous statement to replace it with a new one or amplifying a previous statement by using stronger language.

Example: We’ll work on it on Sunday. No, let’s make that Monday—it’s the weekend after, all!

40. chiasmus

Chiasmus is reversing the grammatical order in two otherwise parallel phrases or sentences.

Example: Dog owners own dogs and cats own cat owners.

41. asyndeton

Asyndeton is the removal of conjunctions from a sentence.

Example: Get in, cause a distraction, get out.

Take the quiz

Are you ready to write with these rhetorical devices? You can review them using our Rhetorical Devices Word List , where you can practice with flashcards and practice quizzes. And when it’s time, fit in this quiz to quickly distinguish which terms you now know before you apply them to your next project.

Learn more about the modes of persuasion known as ethos, pathos, and logos.

Ways To Say

Synonym of the day

Dr. King’s “I Have a Dream” Speech: A Rhetorical Analysis

Frank Coffman - WORDSMITH

Rhetorical Analysis of the Speech

by Frank Coffman, Retired Professor of English and Journalism, Rock Valley College, Rockford, Illinois

I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation.

Clear reference to both Lincoln and his “Gettysburg Address.” The speech was given from a platform on the front steps of the Lincoln Memorial in Washington, D.C.

This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice.

METAPHORS here: “hope” is a “beacon light” and “withering injustice” is a searing “flame.”

It came as a joyous daybreak to end the long night of their captivity.

METAPHORS here also, but note the ANTITHESIS of the metaphors: the Emancipation Proclamation is “daybreak”; the “long night” of “captivity” is ended.

HERE FOLLOWS the first of Dr. King’s parallelisms using the TETRACOLON, a four- part parallel structure of clauses. Also used is ANAPHORA, the parallelism technique of Repeated Beginnings: “one hundred years later.” I’ve separated the four “branches” of this TETRACOLON to aid in further discussion.

• But one hundred years later , the Negro still is not free.
• One hundred years later , the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. Again a sort of double-METAPHOR with “manacles” = “segregation” and “chains” = “discrimination.”
• One hundred years later , the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. Nice example of King’s seeming preference for ANTITHETICAL METAPHORS and doing them in pairs. A balance of opposites ( antithesis means “against the statement”). “poverty” is an “island” in the “ocean” of “prosperity.” Nice ALLITERATION on the letter “P” with “poverty” vs. “prosperity.”
• One hundred years later , the Negro is still languished in the corners of American society and finds himself an exile in his own land. And so we’ve come here today to dramatize a shameful condition. This is a PARADOX. By definition, one cannot be an “exile in his own land.” To be exiled means to be sent away from/out of ones own land. But the PARADOX points out something seemingly impossible, but which, in some ways at least, is, nonetheless, true.

•In a sense we’ve come to our nation’s capital to cash a check. Here begins an ANALOGY (a comparison along several lines of comparable parts) on the “check.” Note the underlined and boldfaced connections that springboard off of the concept of the “check.” The ANALOGY continues in the next paragraph. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise [Which is exactly what a check is: a promise to pay.] that all men, yes, black men as well as white men, would be guaranteed the “unalienable Rights” of “Life, Liberty and the pursuit of Happiness.” It is obvious today that America has defaulted on this promissory note, insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.” Literally and Figuratively: “insufficient funds.”

But [Note the use of a conjunction (“But”) to start a sentence. This is absolutely OK. If you were ever told, “Never use a conjunction to begin a sentence” — forget that. It’s a “Training Wheels Rule” for beginning writers.] we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so, we’ve come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.

We have also come to this hallowed [Probably here also an homage to and allusion to Lincoln’s Gettysburg speech: “…we cannot dedicate, we cannot consecrate, we cannot hallow this ground.”] spot to remind America of the fierce urgency of Now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. This is followed by King’s second TETRACOLON (again, separated out here for emphasis):

• Now is the time to make real the promises of democracy.
• Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Note again the balanced and ANTITHETICAL METAPHORS.
• Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood. Note again the balanced and ANTITHETICAL METAPHORS.
• Now is the time to make justice a reality for all of God’s children.

•It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent <<This is a clear ALLUSION to the opening of Shakespeare’s RICHARD III, with a nice twist: “Now is the winter of our discontent made glorious summer…” will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. And those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. And there will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people, who stand on the warm threshold which leads into the palace of justice: In the process of gaining our rightful place, we must not be guilty of wrongful deeds. <<Here another ANTITHESIS: “rightful” balanced against “wrongful.” Let us not [<<This is one of the types of INVERSION often seen in formal speaking and writing: we usually put the negative before the verb (“Don’t let us”) rather than after (“Let us not”). Other types of inversions are: adjective after noun and verb before subject. ] seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again, we must rise to the majestic heights of meeting physical force with soul force.

The m arvelous new m ilitancy [ <<Nice ALLITERATION on the “Ms.” ] which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. And they have come to realize that their freedom is inextricably bound to our freedom.

We cannot walk alone. <<The first of several short, simple sentences used for effect.

And as we walk, we must make the pledge that we shall always march ahead.

We cannot turn back. Here follows a PENTACOLON (five parallel clauses): There are those who are asking the devotees of civil rights, “When will you be satisfied?”

• We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality.
• We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities.
• We cannot be satisfied as long as the negro’s basic mobility is from a smaller ghetto to a larger one.
• We can never be satisfied as long as our children are stripped of their self-hood and robbed of their dignity by signs stating: “For Whites Only.”
• We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote.

No, no, we are not satisfied, and we will not be satisfied until “justice rolls down like waters, and righteousness like a mighty stream.”

I am not unmindful [The “not un-“ structure is the marker of LITOTES (understatement by negating the opposite — “not unmindful” means “I know”)] that [And here follows a TRICOLON: three clauses in parallel — Lincoln’s favorite device. Also again, the use of the repeated opening — ANAPHORA (the “first word or phrase repeated in a parallel series)]:

• some of you have come here out of great t rials and t ribulations.
• Some of you have come fresh from narrow jail cells. And
• some of you have come from areas where your quest — quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality.

You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. [The following exhibits ANAPHORA again, of coure, but also we have what would be called — in the Greek enumeration of such things — a HEXACOLON]:

• Go back to Mississippi,
• go back to Alabama,
• go back to South Carolina,
• go back to Georgia,
• go back to Louisiana,
• go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed.

Let us not wallow in the valley of despair, I say to you today, my friends.

And so even though we face the difficulties of today and tomorrow, I still have a dream . It is a dream deeply rooted in the American dream. Then King’s favorite parallelism grouping — another TETRACOLON, with, again, ANAPHORA:

1. I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal.”

2. I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

3. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

4. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today! << REPETITIO (REPETITION) is not a fault to repeat oneself — if it’s used for emphasis.

I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of “interposition” and “nullification” — one day right there in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today!

I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight; “and the glory of the Lord shall be revealed and all flesh shall see it together.”

This is our hope, and this is the faith that I go back to the South with.

1. With this fait h, we will be able to hew out of the mountain of despair a stone of hope.

2. With this faith , we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood.

3. With this faith , we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. In structure, the preceding TRICOLON is a clear homage and reference to Lincoln’s “Second Inaugural Address”: “…With malice toward none. With charity for all. With firmness in the right, as God gives us to see the right…”

And this will be the day — this will be the day when all of God’s children will be able to sing with new meaning:

“My country ’tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the Pilgrim’s pride, From every mountainside, let freedom ring!”

And if America is to be a great nation, this must become true.

And so (introducing a final long series of ANAPHORIC parallelism — 9 of them! Thus, a NONOCOLON?!)

let freedom ring from the prodigious hilltops of New Hampshire.

Let freedom ring from the mighty mountains of New York.

Let freedom ring from the heightening Alleghenies of Pennsylvania.

Let freedom ring from the snow-capped Rockies of Colorado.

Let freedom ring from the curvaceous slopes of California. But not only that:

Let freedom ring from Stone Mountain of Georgia.

Let freedom ring from Lookout Mountain of Tennessee.

Let freedom ring from every hill and molehill of Mississippi.

From every mountainside, let freedom ring .

And when this happens, when we allow freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual:

Free at last! Free at last!

Thank God Almighty, we are free at last!

King ends his speech to use Emotional appeals (PATHOS), but he has already used logical (LOGOS) and moral (ETHOS) appeals. Ancient rhetoricians agreed that all three were needed.

Written by Frank Coffman - WORDSMITH

Frank Coffman is a published poet, author, scholarly researcher, and retired professor of English, Creative Writing, and Journalism. frankcoffman-writer.net

Text to speech

Stylistic Devices (Rhetorical Devices, Figures of Speech)

On the following pages, we will explain some of the most important stylistic devices (also called rhetorical devices or figures of speech) – they are not only useful for analysing texts, but also for creating your own texts.

Stylistic devices make your speeches, essays etc. more interesting and lively and help you to get and keep your reader ’ s / listener ’ s attention.

Tap into the power to persuade by using these 6 techniques of clear and compelling speech

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Politicians and other public figures deploy particular rhetorical devices to communicate their ideas and to convince people, and it’s time that we all learned how to use them, says speechwriter Simon Lancaster.

This post is part of TED’s “How to Be a Better Human” series, each of which contains a piece of helpful advice from someone in the TED community; browse through all the posts here.

There is a secret language of leadership — and it’s one that anyone can learn, says UK speechwriter Simon Lancaster in a TEDxVerona talk . He has made a career out of crafting addresses, remarks and talks for top politicians and CEOs of international corporations such as Nestle and Unilever, and continues to do so . Refreshingly, rather than clinging Gollum-like to what he’s learned and knows, he believes everyone should have access to the same tools that he and his colleagues use.

By tools, he’s not talking about special software or databases — he’s referring to rhetoric. Rhetoric has its roots in ancient Greece ( think: Aristotle ) as clear, convincing speech was seen as an essential component of communication and participation in a democracy. Instruction in rhetoric remained part of the curriculum in many secondary schools in Europe and the US until the 19th century.

“The reason we all used to learn rhetoric at school was because it was seen as a basic entry point to society,” explains Lancaster, who is based in London. “How could society be fair, unless everyone had equal ability to articulate and express themselves? Without it, your legal systems, your political systems, your financial systems are not fair.”

Yes, the power to persuade is just that — power.

Lancaster states there is only one school in England that still teaches rhetoric: Eton, the alma mater of 20 Prime Ministers (including current officeholder, Boris Johnson). He adds, “It should be of intense concern to all of us that education in this has been narrowed to a very small … elite.”

While Lancaster can’t send the world to Eton, he can share the 6 rhetorical building blocks needed to speak persuasively. Here they are:

Building block #1: Breathless sentences or phrases

Barack Obama gave an acceptance speech for the ages in 2008 after he was first elected president of the US. He spoke vividly of the challenges that lay ahead for the country: “Even as we celebrate tonight, we know that the challenges tomorrow will bring are the greatest of our lifetime: Two wars, a planet in peril, the worst financial crisis in a century.”

Lancaster wants us to pay special attention to the last part of that sentence, the “two wars, a planet in peril, the worst financial crisis in a century” part. Yes, it’s a stressful mouthful — not just because of the content but because of how it’s delivered. Short, staccato phrases like these mimic how we speak when we’re anxious and in a hurry. This technique helps communicate urgency to an audience.

Building block #2: Speaking in 3s

What’s the other rhetorical trick underlying “two wars, a planet in peril, the worst financial crisis in a century”? The rule of 3.

Humans are accustomed to things coming in 3s: whether it’s judges on American Idol , bowls of porridge in a fairy tale , or sides in a triangle. Our minds and ears have been trained by speeches (Abraham Lincoln’s “government of the people, for the people, by the people”); slogans (reduce, reuse, recycle); and book titles ( Elizabeth Gilbert ‘s memoir Eat, Pray, Love ). “You put your argument in 3s, it makes it sound more compelling, more convincing, more credible. Just like that,” says Lancaster.

Recall British PM Winston Churchill’s stirring triplet from the speech he delivered to Parliament on June 4, 1940 : “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight on the fields and in the streets.” Besides the rule of 3, he gave the line additional rhetorical firepower by repeating the opening clause.

Lancaster explains, “When we are emotional about things, our perspective distorts, and this then manifests in our speech. So this is the authentic sound of passion.” Doing this can catch an audience in the speaker’s enthusiasm.

Building block #3: Balanced statements

“Ask not what your country can do for you — ask what you can do for your country.” It’s a line from president John F Kennedy’s inspiring 1961 inaugural address , and one that’s stood the test of time. Why? Its balanced construction, says Lancaster. “If the sentence sounds as if it’s balanced, we imagine that the underlying thinking is balanced and our brain is tuned to like things that are balanced.”

Grouping balanced statements in 3s further amplifies the effect:

“We’re looking to the future, not the past.

We’re working together, not against one another.

We’re thinking about what we can do, not what we can’t.”

Building block #4: Metaphor

According to Lancaster, people use a metaphor once every 16 words on average ( side question: Where do statistics like this even come from? ). He declares, “Metaphor is probably the most powerful piece of political communication.”

Metaphors are rich in imagery and awake immediate feelings in people, so it follows that politicians love them and sprinkle them like birdseed (“like birdseed” is a simile, not a metaphor , and similes are other strong rhetorical tools to have in your kit). At times, they can employ them to point us to an ideal or aspiration. For example, in his farewell address , president Ronald Reagan movingly invoked America, h/t to John Winthrop, as a “shining city upon the hill.”

Too often, however, metaphors are used to manipulate, incite and denigrate. Politicians and talking heads could have called the 2015-16 refugee encampment in Calais, France, a “refugee camp” or “refugee settlement.” Instead, they deployed this loaded word: “jungle.” Lancaster says,“It’s planting in your mind the idea that migrants are like wild animals to be afraid of, that they are dangerous, that they represent a threat to you. This is a very dangerous metaphor because this is the language of genocide; it’s the language of hate.” Unfortunately, media outlets picked up “Calais jungle” and used it as their shorthand identifier of the camp, extending the metaphor’s reach.

Building block #5: Exaggeration

In the same way that we get breathless when they’re speaking with passion, our speech distorts in another significant way. We exaggerate. So when we’re sitting down to a meal after having eaten little that day, we tell our family and friends: “I love this pizza.” But when we say things like this to each other, we also realize it’s a bit of distortion: We do not love the pizza in the same way that we love our children or parents or the planet, and everyone present knows that.

Similarly, politicians and leaders might say things like “I’ve waited my whole life to say these words” or “I will work to achieve this with all my heart and soul.” These utterances are indeed over the top, but because they’re acceptable and even welcome since they echo how we speak.

Building block #6: Rhyming

Starting from childhood, many of us are taught concepts through rhymes — such as “an apple a day keeps the doctor away” or “i before e except after c.” With their musicality, they’re a pleasing informational snack that sticks in memories like a musical earworm .

Rhymes can seem corny, but sprinkled in at the right time, they can be incredibly potent. We all  remember the pithy “If it doesn’t fit, you must acquit” from defense attorney Johnnie Cochran during O.J. Simpson’s 1995 murder trial.

Rhyming’s appeal comes “down to what linguists talk about as the processing fluency of language — how easy is language to swallow?” says Lancaster. “If you speak using long words and long sentences, it’s like giving someone a steak and asking them to swallow it. Whereas if you give them something pithy, like a rhyme, it’s like asking them to just sip on some Prosecco.”

These six tricks can help us speak directly to people’s instinctive, emotional and logical brains, and they are extremely effective, says Lancaster. There’s no need for us to be in the public eye to use them in order to sway others or make our words stay in people’s minds. Even if we never employ them in our own lives, it’s equally important for us to recognize them. Politicians, con artists and advertisers utilize them to win votes, spread opinions, or sell products people don’t need. By being alert to these rhetorical devices, we can be better citizens and consumers.

To learn more about rhetoric, watch this:

Watch Simon Lancaster’s TEDxVerona talk here:

About the author

Daryl Chen is the Ideas Editor at TED.

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My Favorite Speeches for Rhetorical Analysis: 10 Speeches for Middle School ELA and High School English

Teaching rhetorical analysis is one of my absolute favorite units to complete with my students. I love teaching my students about rhetorical strategies and devices, analyzing what makes an effective and persuasive argument, and reading critical speeches with my students. Here is a quick list of some of my favorite speeches for rhetorical analysis.

I absolutely LOVE teaching rhetorical analysis. I think it might be one of my favorite units to teach to my high school students. There are just so many different text options to choose from. Here is a list of some of my favorite speeches to include in my rhetorical analysis teaching unit.

10 Speeches for Teaching Rhetorical Analysis

1. the gettysburg address (abraham lincoln).

Some notable things to mention in this speech include allusion and parallel structure. To make your analysis more meaningful, point out these devices to students and explain how these devices enhance the meaning of the text.

Teaching Resource : The Gettysburg Address Rhetorical Analysis Activity Packet

2. Lou Gehrig’s Farewell Speech (Lou Gehrig)

This speech is one that many of my athletes love to analyze, and it is an excellent exemplar text to teach pathos. And like The Gettysburg Address, it is short. This is another speech that you can read, analyze, and even write about in one class period.

When I use this speech in my class, I have students look for examples of pathos. Mainly, I have them look at word choice, tone, and mood. How does Lou Gehrig’s choice of words affect his tone and the overall mood of the speech?

3. I Have a Dream (Martin Luther King,  Jr.)

In the classroom, it is important to point out the sermonic feel to the speech and also to have your students look for calls to action and pathos. Have your students look for tone, allusions, and word choice to help them notice these rhetoric expressions throughout it.

Teaching Resource : I Have a Dream Close Read and Rhetorical Analysis

4. Speech at the March on Washington (Josephine Baker)

This is another important speech that held a lot of importance for the changes that needed to be made in America. The speech is a shorter one, so in the classroom, it will not take as long to analyze it, and students can understand the significance of the use of rhetoric in a shorter amount of time than some other speeches.

When teaching this speech, I like to remind my students to search for devices that portray an excellent example of the pathos that is so present in this speech. Some of these devices could be mood, repetition, and diction.

5. Steve Jobs’ Commencement Speech (Steve Jobs)

In class, it is good to have your students annotate and analyze the speech just as they have done for the others. The organization of the speech will help them to notice the similarities and differences between each point Jobs makes.

6. Space Shuttle Challenger (Ronald Reagan)

This speech represents a strong sense of pathos as a movement to help the American people cope with loss after the deaths of the astronauts aboard the Challenger. It is another speech that is not too long, so it should not take a long time to both analyze and annotate the entire speech.

When teaching this speech in class, be sure to mention how pathos is the driving force behind the speech, through the tone and the diction. How does Reagan use emotion to focus on the astronauts as humans, rather than solely focusing on the tragedy?

7. The Perils of Indifference (Elie Wiesel)

This speech is a good one to teach because it both makes students question their own lives, but also how the world works. The speech relies on pathos, and a little ethos too, to get the audience to feel the full effect of the tragedy of the Holocaust and what the speaker went through. It is a long speech so it may take longer for the students to fully grasp all the details that make it such a persuasive speech.

When I teach this speech, I like to have students annotate every place they notice an example of pathos, and then have them explain why in their annotations this makes them feel an emotion. The same with the ethos, and then we can further analyze the rest together.

8. 9/11 Address to the Nation (George W. Bush)

This speech shows another example of the use of pathos in the midst of a tragedy. The President wanted to show the American people how much he was feeling for those lost in the tragedy of 9/11. It is not a long speech, but the amount of emotion within the words is significant for students to notice.

When teaching this speech, it is essential that students look very closely at each part of it, noticing each piece that reveals tone, mood, and other literary devices. How do the different devices add to the pathos of the speech?

FREE TEACHING ACTIVITY : September 11 Address to the Nation Sampler

Teaching Resource : September 11 Address to the Nation Rhetorical Analysis Unit

9. We are Virginia Tech (Nikki Giovanni)

This speech is probably the shortest speech on this list but provides one of the most emotional and pathos-filled rhetoric. This describes another tragedy that is spoken about with pathos to give the audience a safe feeling after such an emotional thing. Students can spend time analyzing the different devices that make the piece so strong in its emotion.

In the classroom, make sure your students make a note of the repetition, and what that does for the speech. Does it make the emotion more impactful? How does it make the audience feel like they are a part of something bigger?

10. Woman’s Right to the Suffrage (Susan B. Anthony)

This is another short speech that holds a lot of power within it. A lot of students will enjoy reading this to see how much the country has changed, and how this speech may have some part in influencing this change. It is a great speech to help teach logos in the classroom, and it will not take a long time to analyze.

Make sure your students notice, and they also understand, the use of allusions within the speech. These allusions help to establish the use of logos, as Anthony wants the use of American historical documents to show how logical her argument is.

Ready-For-You Rhetorical Analysis Teaching Unit

You might also be interested in my blog post about 15 rhetorical analysis questions to ask your students.

Teaching rhetorical analysis and speeches in the classroom is a great way to teach informational text reading standards.

Rhetorical Analysis Teaching Resources:

These resources follow reading standards for informational text and are ideal for secondary ELA teachers.

• Rhetorical Analysis Unit with Sticky Notes
• Ethos, Pathos, Logos: Understanding Rhetorical Appeals\
• Rhetorical Analysis Mini Flip Book

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